Documents found

  1. 3651.

    Article published in Liberté (cultural, collection Érudit)

    Volume 20, Issue 4-5, 1978

    Digital publication year: 2010

  2. 3652.

    Article published in Lurelu (cultural, collection Érudit)

    Volume 36, Issue 2, 2013

    Digital publication year: 2013

  3. 3653.

    Article published in Lurelu (cultural, collection Érudit)

    Volume 20, Issue 2, 1997

    Digital publication year: 2010

  4. 3654.

    Article published in Lurelu (cultural, collection Érudit)

    Volume 20, Issue 3, 1998

    Digital publication year: 2010

  5. 3655.

    Article published in Lurelu (cultural, collection Érudit)

    Volume 33, Issue 1, 2010

    Digital publication year: 2011

  6. 3656.

    Article published in Lurelu (cultural, collection Érudit)

    Volume 39, Issue 2, 2016

    Digital publication year: 2016

  7. 3657.

    Olivier, Aurélie

    Revenir à l'essentiel

    Article published in Jeu (cultural, collection Érudit)

    Issue 136, 2010

    Digital publication year: 2011

  8. 3658.

    Article published in Séquences (cultural, collection Érudit)

    Issue 151, 1991

    Digital publication year: 2010

  9. 3659.

    Article published in Lurelu (cultural, collection Érudit)

    Volume 44, Issue 2, 2021

    Digital publication year: 2021

  10. 3660.

    Article published in Recherches sémiotiques (scholarly, collection Érudit)

    Volume 28-29, Issue 3-1, 2008

    Digital publication year: 2011

    More information

    If Hergé's work is speaks to its time, notably in its representation of the media (print journalism, cinema, television), it also refers, albeit in more modest proportion, to the plastic arts (sculpture, painting, classical art and modern art). If Tintin's author is just now getting recognition as an artist in his own right (in 2005 the Centre Georges Pompidou put up an exhibition on Le Lotus Bleu), it wasn't always this way, starting with Hergé himself, who for the longest time, conceived of his work as a minor art. Does this mean that Hergé's approach to fine art in Tintin ought to be seen as symptomatic? Perhaps the fate that befalls the various paintings and sculptures throughout his work offers a partial answer.