His work is immense, commensurate with his talent.
Thousands of drawings recognizable at first glance by their simple and singular line, by their laconic or emphatic caption: irresistible.
Sempé created Petit Nicolas (with Goscinny), collaborated with Modiano and Süskind, illustrated on numerous
New Yorker covers,
but the essence of his creation is timeless, his anonymous creatures: interchangeable figures, and yet in their own way unique and mostly familiar.
Sempé did not draw "good men", he drew humanity.
This artist had risen to the rank of moralist.
In a few pencil strokes, in a few sentences, he shed light on our condition.
Sempé had risen to the rank of moralist
When we leaf through an album by Sempé, we notice to what extent he shares with Pascal the certainty that we have little weight with regard to the immensity of the world:
“a nothingness with regard to infinity”
;
his Sunday painter in front of the foliage, his man in the street lost in the city, his old lady in a cathedral...
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