Dans l’ensemble de l’œuvre de Franquin, j’ai toujours eu un faible pour les petits dessins qu’il a réalisés pour commenter la couverture. Probablement parce que je les ai découverts avec les premiers Spirou que l’on m’a acheté (ça n’a pas duré quand ma mère a découvert Archie Cash). Et aussi parce que l’on voit qu’il s’est terriblement amusé. Ces petits dessins grotesques, effrayants ou délirants ne pouvaient guère être développés dans son travail classique pour Spirou.
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Petites merveilles de soin,de pertinence du trait,et de joie!..Dans la démarche,c’est une possible influence du maître Beuville…les miniatures…mais chargées ‚presque « compliquée « !
J’en aimais beaucoup une représentant Walthery en violoniste,quelques gamins de passage,ou un petit mousquetaire …et quelques quasi portraits (Macherot)
Le plaisir de jouer,renouvelé plus tard dans une autre formule de couverture…ça devait ce concevoir avec un grand sourire,patiemment,non..?
Je pense en effet qu’il devait prendre énormément de plaisir là-dedans.
C’est comme si Franquin avait été ponctuellement possédé du démon du mauvais esprit, qu’il canalisera plus tard dans les Idées noires, mais ses gribouillis de bas de page de couverture avaient une acidité et une précision diaboliques. D’ailleurs, cinquante ans après, on en parle encore.
Sinon, quand ma mère a découvert Archie Cash, ça lui a permis d’assumer enfin sa masculinité toxique non-genrée, et je ne l’ai pas revue depuis.
Je commence à comprendre des choses. Franquin avait vraiment un goût pour le macabre dans une grande tradition belge.
Je songe alors à Jules de Brucker,sans hasard,au grotesque,aux chères petites frayeurs qui animaient l’appétit de Franquin,souvenir de quelques Gaston aux grandes ombres portées,aux brumes épaisses…comme d’un Jean Ray qui,relatant une authentique traversée pour l’Angleterre,se dit alors dès son arrivée au port ‚dans une obscurité totale,solitaire,fut attaqué au couteau…
La peur,donc,avec un grand rire certes,ce qui la rend davantage glaçante,non ?
Il y a un côté terreurs enfantines dans ces dessins de Franquin. Des choses grotesques qui sortent de l’ombre en ricanant. Je ne crois pas en fait qu’il y ait d’autres artistes qui aient réussi ça.
Tu m’as précédé dans la lecture de Spirou. Je n’ai connu que l’époque des marges dessinées par Yann et Conrad.
Veinard !
C’est déjà pas mal. Mais ça s’appelle l’âge et je n’ai connu cette époque que de manière très dispersée sur le moment. Après, j’ai rattrapé le retard grâce à un copain collectionneur et, en direct, j’ai acheté la période Yann et Conrad – et tant d’autres.
Quand même incroyable qu’avec tous les recueils des moindres croquis de Franquin sortis chez marsu productions, il n’existe aucun ouvrage compilant ces marges…
Il y en a bien un mais sorti chez un libraire et pas très bien imprimé à ce que j’ai cru comprendre.
Il y avait eu un fort grand nombre de ces dessins volés à la rédaction de Spirou;Franquin en parle dans Et Franquin créa Lagaffe,ce qui explique cela j’imagine..?
Bien vu.