Slashdot has marked The New Yorker’s history with those unforgettable

New Yorker

New Yorker

Sempé has signed over 110 covers for “The New Yorker.”

The media – thanks to his fragile and meticulous streak, he seized him” A wide range of simple joys of life These are the words, in 2019, of the writer and artistic director of New Yorker Françoise Mouly In connection with Jean-Jacques Sempé, the famous French designer who died on Thursday 11 August and with whom the prestigious magazine has long collaborated.

On Instagram, on Friday, the post paid a symbolic tribute to the creator little nicholas, It is reported that the latter is the author of more than 110 initial pages of the title. Many of them appeared in New York City, can we read the caption. ” I love the colors of New YorkSlashdot said. They are alive: yellow, green, red and blue. Paris, where I live, is beautiful, but gray is always there. I love Paris too, but it’s not the same thing. »

Sempé and . story New Yorker Goes back a long way. As explained to figaroIn 2017, as a teenager, he worked as a wine broker. In particular, he delivered wine samples to the American Information Center. ” There I could see the illustrious New Yorker. I was amazed. It seemed to me like a distant, imaginary and inaccessible world. It was a dream.” capturing.

Then the budding designer fell in love with the ingenuity of the graphics, the humor of the contributors, and the gags without speech or word bubbles. working for New Yorker is a dream. A dream that will come true thanks to one of his friends, the American cartoonist Edward Corinne. After his passage in 1970, the latter introduced him to a weekly journalist, Jane Kramer.

She had come to Paris for the legislative electionshe remembers, there are also in columns figaro. She asked me a few questions and I left with one or two of my albums. » Back in New York, I showed her to the director. Neither one nor two, and he quickly wrote to him, saying: Send me whatever you want, you can. » Simbi says it was. aghast But there is, I couldn’t back out “.

The first graphic was signed on his front page in 1978. It was a drawing of a man on the windowsill of a building, hesitating to fly,” He said, becoming the first designer to collaborate with the title.

Simpi’s sad drawings crushed the big apple with whole teeth.

picture
New Yorker

New Yorker

picture
New Yorker

New Yorker

They gave her the colors of all her seasons.

picture
New Yorker

New Yorker

picture
New Yorker

New Yorker

And that, day and night.

picture
New Yorker

New Yorker

picture
New Yorker

New Yorker

The painter did not miss any of his tunes.

picture
New Yorker

New Yorker

picture
New Yorker

New Yorker

The “Frenchman” knew how to impose his style on New Yorker, Even if the newspaper’s demand and its former director, William Sean, sometimes terrified her. ” He was crazy about his newspaper, loved cartoons, loved his journalists. Besides, there, we didn’t say journalist, we said writer. And we didn’t say designer, we said artist, mentioned himself.

picture
New Yorker

New Yorker

New York City didn’t just stamp his business. It annoyed the man it was. Especially his first visit. I remember, it was the middle of winter, a frigid winter, I had no gloves nor a muffler and yet I crossed Central Park with glee. I was almost 50, I would have given myself 20. And for the first time in my life, I was there. »

picture
New Yorker

New Yorker

picture
New Yorker

New Yorker

His complacency often reproduced this feeling of smallness in the midst of gigantic spaces.

picture
New Yorker

New Yorker

picture
New Yorker

New Yorker

One thing is for sure, Sempé’s poetic pencil stroke will never fade from our memories.

See also on HuffPost : On the New York subway, he paints amazing portraits of strangers

Leave a Comment

Your email address will not be published.