An exhibition shows the genius of the “Asterix” artist

Maybe he was the best comic artist. At least Albert Uderzo is one of the most successful: he became known worldwide with “Asterix”. For the first time, several of its originals, sketches and early works are shown in Germany. They prove its ingenuity.

Comic artists know that: a line is wrong, a hand is too large, a perspective slips. Undetent, but not a drama. Why is there tip-ex? The error is quickly covered with white and newly drawn with spring or pen. In the printed work, no one sees what is a flaw on the original.

Albert Uderzo may have had no tip-sex in the house. The “Asterix” artist who died in 2020 is not only one of the best known and most successful artists in comic history. He is also one of the best, maybe the best comic artist. If you don't believe it, you should take a look at the new exhibition at the Berlin Museum of Communication. “Uderzo – from Asterix to magic potion” gives an insight into the French's genius from this Thursday to June 15, including numerous originals.

Museum director Anja Schaluschke speaks of “one of the gods of the comic sky”. She cannot really believe that she can now present part of the exhibition already shown in Paris. She owes the Uderzo's daughter Sylvie, who came to Berlin at the opening. Her mother, who died only a week ago,, the wife of Uderzos, it was important to show his works in Germany. There is the largest Asterix fan base in France.

“He could make it look easy”

The German draftsman Flix, who curated the Berlin exhibition together with Sylvie Uderzo, can no longer get out of the raving. “This is the most extraordinary exhibition in Berlin since the MoMA show,” he says, alluding to the epochal event, which attracted masses of people to the new National Gallery in 2004. He compares Uderzo's meaning as an artist with that of Claude Monet and Victor Hugo. “He was style-defining. Everyone knows him, everyone has an association with him,” says Flix, who has already drawn the little Gauls for a homage band himself.

Flix 'enthusiasm can be felt when he refers to the artist's detail. Here is the first appearance of Idefix, since the cover of the first volume “Asterix, the Gauls” – Obelix is ​​even thinner than on later drawings. “Albert Uderzo's art is to make heavy things look easy,” says Flix. But it was a long way to get there. “He worked hard,” added Sylvie Uderzo, “but he also talented from the start.”

Accordingly, the exhibition, which is distributed on three floors in the museum, is not limited to Uderzo's most famous work “Asterix”, which he created together with author René Goscinny in 1959. Also – surprisingly professional – drawings from his school days, early oil paintings, the first walking tests as comic artists and things from his studio are shown. There are also interesting facts. Example? Uderzo was born on both hands with six fingers, which was corrected before going to school.

And comics. Especially comics. Uderzo's early figures such as Arys Buck or Clopinard, which emerged after his return from World War II, show the great influence on the one hand that Walt Disney had on the young draftsman. On the other hand, they are already carrying elements that later reappear in “Asterix” – such as the representation of two warriors who are reminiscent of Gauls. The same applies to the pirates from “Pitt Pistol”, the first common series of Uderzo and Goscinny.

Images from the cartoon-like series “Umpah-Pah”, which hang alongside originals of the realistic airline series “Tanguy and Laverdure”, in turn demonstrate the versatility of the artist. Just like Asterix drawings in the style of the “Peanuts”, which Uderzo drew at the request of fans.

Every detail was thought out, every gag sits

The “Asterix” original, designations and figure leaves, come from albums such as “Asterix and Kleopatra”, “Asterix with the British” or “Asterix and the Arvernerschild”. They are highlights of the series and highlights of comic art. The originals show much more clearly than the finished albums how well Uderzo could draw: no line is missing, every detail is well thought out, every gag is sitting. “The people are never fixed, they are always on the move,” says Sylvie Uderzo. This liveliness is part of the success of the series.

And then the daughter reveals a secret: “Sometimes I mixed up myself,” she says. When the father was gone in the evening and the drawing leaves were on his desk, she made a small drawing contribution as a child. It was only years later that she stood out for him – and Uderzo was completely surprised.

The exhibition in the Museum of Communication is comparatively small – it comprises 130 exhibits. But it is very lucky that it is shown in Germany, which, unlike France, is still a comic developing country. This can be seen in a shortcoming: the embedding of Uderzo's work in the greater context. Because “Asterix” was part of an era of great works, it was the golden time of the comics. Drawings by other column saints such as Hergé, André Franquin or Morris would have rounded off the show and made it possible to compare the different styles. But access to their works is not a matter of course for German museums.

Nevertheless, there is a pleasant feeling when looking at Uderzo's works. A touch of history blows up the original drawings, as well as Uderzo's brush or Goscinny typewriter along with an original manuscript of the first “Asterix” adventure. And then there is a drawing from Uderzo's last tape, “Gaul in danger”. This was taken out extremely critically by readers. But Flix tries the rescue of honor: Even if Uderzo could no longer shook, the experience of an entire drawing life would be shown in the pencil drawings.

“Uderzo – from Asterix to magic potion” can be seen from February 6 to June 15th in the Museum of Communication in Berlin. The show and guided tours are trilingual – German, French and English. There is more information here.