The world of Franco-Belgian comics, often referred to as the “Ninth Art,” has long been defined by a tension between rigid tradition and avant-garde rebellion. Few figures embodied this friction more vividly than Hermann, the Belgian master whose career spanned over half a century and culminated in the creation of la saga de Jeremiah et l’art de la BD. Until his passing on March 22, 2023, at the age of 87, Hermann remained a singular force—a provocateur who rejected the intellectualism of the art world in favor of raw, cinematic instinct.
For those who followed the trajectory of European graphic novels, the launch of the Jeremiah series in the late 1970s marked a seismic shift. It wasn’t merely the introduction of a new character, but the arrival of a new visual language. Hermann transitioned from being a skilled illustrator for others to a complete auteur, handling both the script and the art. This autonomy allowed him to infuse his perform with a “tragico-comic” energy that mirrored the volatility of the human condition, centering on individuals who survived not through ideology, but through sheer tenacity and strength.
Hermann’s approach to storytelling was famously devoid of hidden messages or academic pretension. He viewed the comic page not as a canvas for social commentary, but as a medium for capturing the visceral essence of a moment. His work was a study in movement—a relentless pursuit of the “invisible” seconds that occur between frames. By manipulating angles and employing strategic close-ups, he sought to make the reader perceive the passage of time, claiming that successfully conveying just fifteen seconds of a character’s gesture was a monumental achievement in the medium.
The Cinematic Blueprint of the Ninth Art
This obsession with pacing was born from a deep, lifelong passion for cinema. Hermann did not just draw stories; he directed them on paper. He frequently cited the influence of the American West, specifically the rhythmic leisure of Butch Cassidy and the Sundance Kid, which taught him how to integrate a deliberate slowness into the flow of a comic. This cinematic sensibility is what separates the Jeremiah saga from the static traditions of earlier eras.
The visual architecture of Jeremiah also drew heavily from the stylistic extremes of the 20th century. The grit and tension of Sergio Leone’s westerns informed his layouts, even as the surreal, eccentric characterizations of Federico Fellini inspired his casting. In the first Jeremiah volume, La Nuit des Rapaces, Hermann introduced a sophisticated, effeminate, and meticulously made-up character—a figure he described as “Fellinian”—breaking the mold of the traditional, rugged comic protagonist.
A Provocateur in the Studio
Beyond his technical mastery, Hermann was known for a persona that was as sharp as his ink lines. In an era where the European art scene was heavily skewed toward leftist ideals, he was unapologetically right-wing, though he maintained a fierce opposition to all forms of dictatorship, including communism. He held a deep disdain for what he called the “society of the assisted,” arguing that the state should not penalize high achievers to support mediocrity.
This frankness extended to his relationship with the critical establishment. He had little patience for intellectuals who sought to over-analyze comics, dismissing them as people who “split hairs.” He famously laughed at academic attempts to find hidden homosexual subtexts in Tintin, while simultaneously arguing that other works, such as Cuvelier’s Corentin, possessed a genuine, discrete sensuality. This willingness to challenge the status quo often led to legendary clashes with his peers, including a near-altercation with Bob de Moor that required the intervention of Hergé himself to resolve.
Despite his prickly exterior, Hermann harbored a profound respect for a select few. He admitted that the work of Moebius (Jean Giraud) was so overwhelming that it could occasionally paralyze his own ability to work for an entire day. He also deeply admired the meticulousness of Hergé, noting how the creator of Tintin could make characters appear to move even in the most desolate desert scenes. Conversely, he was critical of artists like Jacobs, whose work he felt was too theatrical and overly reliant on text to explain the drawings.
Legacy and the Scope of His Work
The breadth of Hermann’s contribution to the medium is best viewed through the scale of his projects. While Jeremiah remains his magnum opus, the series expanded to 40 volumes by 2023, evolving into a complex study of survival and adventure. However, his versatility was proven through other ambitious works, including the medieval epic Les Tours de Bois-Maury, which spanned 16 volumes, and more grounded, poignant narratives like Sarajevo Tango, which dealt with the Bosnian War.
| Project/Award | Scope/Date | Significance |
|---|---|---|
| Jeremiah | 40 Volumes (by 2023) | Turning point to full auteur status; cinematic focus. |
| Les Tours de Bois-Maury | 16 Volumes | Expansive medieval fresco. |
| Grand Prix d’Angoulême | 2016 | Highest honor in Franco-Belgian comics. |
| Sarajevo Tango | Single Album | Shift toward contemporary geopolitical conflict. |
Hermann’s legacy is not just found in the number of albums he produced, but in his insistence that the comic artist be a visceral storyteller rather than a philosopher. By the time he received the Grand Prix du Festival d’Angoulême in 2016, he had already redefined the expectations of the medium, proving that a comic could possess the rhythm, breath, and unpredictability of a great film.
As the industry continues to evolve toward digital formats and globalized styles, the influence of Hermann remains a touchstone for those seeking to master the art of visual movement. The upcoming years will likely see a renewed academic interest in his archives, as new generations of artists gaze to Jeremiah to understand how to balance the tragedy of existence with the comedy of survival.
We invite you to share your thoughts on Hermann’s influence on the “Ninth Art” in the comments below or share this piece with fellow collectors and enthusiasts of the graphic novel.
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