- Sylvain Tesson
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- L'œil de l'historien et la voix de l'histoire - Persée
May Banknote Auction - cgb. E-Auction 3 - Palombo World Coins. Auction - Spink World Banknotes. Holmes Collection of the Valerianic Dynasty. Numismatic Sale 84 - Agora Coins and Antiquities. Auction 48 - Naville Numismatics Ancient Coins. Auction - A. Karamitsos Coins, Medals, and Banknotes.
April Banknote Auction - cgb. Auction - Spink Coins and Commemorative Medals. Auction - Spink The Dr. Premium Auction 39 - Solidus Selected Coins. Online Auction 11 - V. Nummus Ancient and World Coins. Auction 30 - Baldwin's of St. Auction 29 - Baldwin's of St. Numismatic Sale 83 - Agora Coins and Antiquities. Auction 40 - Coins. E-Auction 2 - Palombo World Coins.new.urbanreef.com/lukyl-the-best-cellphone.php
Auction 47 - Naville Numismatics Ancient Coins. Portuguese Coin auction Exclusive - catawiki. Dargaud, August This was one of the guaranteed hitters occupying a place of pride right at the front of every display I saw. A fictionalized recounting of the traumatic life of Empress Carlota of Mexico, it's the book discussed here that I can best imagine making a dent in the US bookstore scene - most likely in an "integrale" edition once all the volumes are out.
The big hook is the high-gloss visuals provided by Bonhomme and colorist Merlet. Architectural, sartorial, and floral detailing embellishes naturalistic figures and faces that casually snatch that precious extra mile of expressive simplicity. It's irreproachable cartooning, but it also feels a whit understuffed. While all Bonhomme's fine detail work never overwhelms his subjects or compositions, I found myself wishing for a little more grit somewhere on the page. Merlet does her level best to produce the missing je ne sais quoi by adding a speckly textured effect to her flatting - it's a worthy effort, but it isn't quite enough.
Even the book's most sordid scenes of degradation in Milanese brothels have a cuteness to them.
Even looking at this book without being able to read a word of it, there's never much doubt as to what's going on. Bonhomme uses shadow to indicate emotional tenor, sets up animals as visual metaphors, and generally shows an adept understanding of comics as a storytelling medium. Isabelle Merlet comes away with the top honors, giving the book as a whole and each individual scene a distinct color identity, using the classic refrain of the desert-set orange-and-blue Western comic as a launch pad for some very rewarding choices.
It's rare to see unmodeled, flat colors that feel this lush, or a palette that shifts between such high levels of luminosity and gloom. There's an articulateness to Merlet's work that most colorists aren't ever given the chance to display. You can imagine Bonhomme and Merlet illustrating stories in just about any genre or milieu, and carrying them off with grace.
Not a new book, but new to me. Coche's art, penciled delicately on dirty paper and reproduced in high-fidelity lo-fi, with erasures and fuzz as visible as the lines, will inevitably remind American readers of C. Our hero rarely appears in the anecdotes that spiral from his consciousness as he lies abed in the palace of his adoptive father, a king who occasionally lies next to him, sleeping or dead. Instead, they focus in on the follies of the medieval world, with splendid knightly legions decimated again and again by disease, war, and beasts of the woods.
The perils of biology are an especially prominent theme, with worms slithering everywhere and cutaway views of people's innards wracked by contagion frequently hovering over their heads like word balloons. If you want the comics equivalent of an experimental metal album, here it is, complete with drawings that could provide endless badass album covers. Coche's drawing is, naturally for a comic without any words, the main attraction. Once you get past just how similar it looks to cutting-edge American comics of its time, the more individualized facets of his approach are something to savor.
His way with negative space is incredibly striking - time and again, what is fundamentally a detail-rich drawing style slams up against a compositional sense obsessed with visualizing only what's necessary. The blank spaces on these pages make as bold a statement as Coche's linework does, forcing the reader to scrutinize his images rather than simply looking at them. Figures in backgrounds are silhouetted rather than rendered, and wide vistas drawn with great elegance give way to crude doodles without warning. For someone who can make such pretty pictures, Coche's ability to edit himself is downright ruthless, and it makes for very striking imagery.
The blank spaces left in the story are more bothersome - there's no shortage of ideas on the pages, but Coche's presentation of them is so cryptic it borders on the inaccessible. This isn't the worst thing in the world - backed by drawing this accomplished they still carry a powerful vibe. But the book's best sequences do speak, if primarily in tongues. A panoramic nautical battle illustrated in splash pages concludes with its desperate survivors' discovery of a ruined temple on a jungle island, as sinister inset panels of Roman columns and Indian gods hang over everything.
And a history-collapsing apocalyptic conclusion hints at how much more to it all there could have been. This book is highly accomplished as both enigma and saga; I just wish it could have figured out which it really wants to be.
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- 95 réponses sur “La nouvelle carte de police annonce la couleur”.
Aire Libre, Happily, it was unfounded. This book is incredible.
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Ruppert and Mulot maintain the classic four-tiered panel structure of album-format French comics, but they aren't purists - their approach to constructing a page is highly mutable, with strings of smaller, tightly framed pictures suddenly slamming into wide vistas or big multi-figure action shots. On the other hand, when comics can emulate movies this knowingly and satisfyingly, the argument falters. The draw of comics over movies is supposed to be that in comics, free of budgetary concerns, what Picasso said is true: anything you can imagine is real.
This is genre comics operating with a ridiculous level of competency and style, and looking nothing like anything we have in America while doing so.
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L'œil de l'historien et la voix de l'histoire - Persée
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