As a young artist Hergé was influenced by his mentors, specifically the abbot Norbert Wallez, who encouraged Hergé to use Tintin as a tool for Catholic propaganda to influence Belgian children. This shows in his earlier works within the Tintin series. As a result, European right-wing stereotypes pervade Hergé's early catalogue. A breakthrough came in 1934, when the cartoonist was introduced to Zhang Chongren, a Chinese student, who explained Chinese politics, culture, language, art, and philosophy to him, which Hergé used to great effect in The Blue Lotus. From this point onward, the artist developed ideologically, amidst the collapse of his country and the Second World War, and so did the series, becoming more progressive and universalist — until the final book, when a certain cynicism ca
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| - As a young artist Hergé was influenced by his mentors, specifically the abbot Norbert Wallez, who encouraged Hergé to use Tintin as a tool for Catholic propaganda to influence Belgian children. This shows in his earlier works within the Tintin series. As a result, European right-wing stereotypes pervade Hergé's early catalogue. A breakthrough came in 1934, when the cartoonist was introduced to Zhang Chongren, a Chinese student, who explained Chinese politics, culture, language, art, and philosophy to him, which Hergé used to great effect in The Blue Lotus. From this point onward, the artist developed ideologically, amidst the collapse of his country and the Second World War, and so did the series, becoming more progressive and universalist — until the final book, when a certain cynicism ca
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| - As a young artist Hergé was influenced by his mentors, specifically the abbot Norbert Wallez, who encouraged Hergé to use Tintin as a tool for Catholic propaganda to influence Belgian children. This shows in his earlier works within the Tintin series. As a result, European right-wing stereotypes pervade Hergé's early catalogue. A breakthrough came in 1934, when the cartoonist was introduced to Zhang Chongren, a Chinese student, who explained Chinese politics, culture, language, art, and philosophy to him, which Hergé used to great effect in The Blue Lotus. From this point onward, the artist developed ideologically, amidst the collapse of his country and the Second World War, and so did the series, becoming more progressive and universalist — until the final book, when a certain cynicism can be detected.
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