A Brief History
Tintin and Alph-Art (French: Tintin et l'alph-art) is the twenty-fourth and final book in the Tintin series, created by Belgian comics artist Hergé. It is a striking departure from the earlier books in tone and subject, as well as in some parts of the style; rather than being set in a usual exotic and action-packed environment this story is largely played out in the world of modern art.
In 1976, a few months after the publication of Tintin and the Picaros, Hergé told the journalist and author Numa Sadoul that he was contemplating the next adventure of Tintin — setting an entire story in an airport departure lounge. This idea was eventually dropped, and in 1978, he decided to set the story in the world of modern art. During later years Hergé had grown more and more interested in modern art, even attempting it a few times himself as a hobby; so he chose to incorporate his love of avant-garde artwork into the new story. Hergé was inspired by the Ferdinand Legros and Elmyr de Hory affair, and incorporated a second
element, a new age sect and a phoney guru. He planned to cast Rastapopoulos as the villain, but according to Harry Thompson, dropped the idea in 1980 when he introduced the alphabet art element. Still, an idea exists that the villain Ramó Nash or his accomplice Enddane Akass may be Rastapopoulous in yet another of his disguises.
Hergé worked on the book until his death in 1983, and it was published posthumously (despite its unfinished status) in 1986 by Casterman in association with La Fondation Hergé, and was republished in 2004
with further material.
In the 2004 edition of the book, nine additional pages are included which present alternative ideas for the story. The most significant include the following:
• A change of lifestyle for Captain Haddock—becoming infatuated with a minimalist painter named Ramó Nash, changing his style of dress, transforming the house, and growing hashish in the cellars at Marlinspike. Haddock and Tintin are accused of drug smuggling, and an investigation takes place in Amsterdam.
• Painting and narcotics; at the Sondenesian embassy (see Flight 714) a grand soirée is held, which is attended by ambassadors for Saboulistan, San Theodoros, Borduria, and Syldavia. Dr. Krollspell (also from Flight 714) makes a reappearance, as director of a brown-sugar factory.
• Captain Haddock suffers from neurasthenia because he can no longer drink whisky. He takes up painting, and becomes infatuated with the painter Ramó Nash. Calculus invents a product that will allow Haddock to drink whisky again; during trials, Haddock loses all his hair and blotches appear on his face.
• Endaddine Akass is revealed as Rastapopoulos. This is not confirmed in the actual book, so there is much speculation as to whether Hergé would have used this idea.
• Background information is given of Akass—we learn that he is involved with Emir Ben Kalish Ezab, an idea not pursued fully in the story.
• An alternative page featuring Rastapopoulos—this would have taken the place of pages 39–40.
• Haddock is invited to an exhibition by the painter Ramó Nash. A number of old acquaintances attend, such as Dawson (The Blue Lotus), the Bird brothers (The Secret of the Unicorn), and Carreidas (Flight 714).
Upon his death, Hergé left around one hundred and fifty pages of pencil sketches for the story. These were edited by a team of experts, including Benoît Peeters, Michel Bareau and Jean-Manuel Duvivier, resulting in forty-two pages of sketches. The album, therefore, only presents the scenarios and sketches of an interrupted tale. However even in its rough state, it is testimony to the extraordinary narrative and graphic talent of Hergé. The story can appear a little disjointed and convoluted at times, although one must remember that Hergé would have recast and edited the story countless times before it was finished.
It is possible that the scenes set at Marlinspike would have been reduced in favour of balance of the story — in the original manuscript, Tintin, Snowy and Haddock do not leave for Ischia until page 31. Furthermore, the scene involving Tintin and Mrs Laijot was marked for possible cutting (20bis on the original manuscript, meaning an additional page 20).
Bob de Moor, Hergé's main assistant, showed an interest in completing the book following Hergé's death. It was not such a surprising request; de Moor had worked with Hergé since 1951, was responsible for running the studios in his absence, adapted the animated film Tintin and the Lake of Sharks into comic-strip form, and worked on the previous book Tintin and the Picaros with Hergé alone. In de Moor's words, "Personally I would have loved to finish Alph-Art. It would have been a tribute to Hergé. Fanny Remi asked me to finish it, and I began work on it, but after a few months she changed her mind. I didn't insist, but for me it was logical that there was a studio, there were artists in the studio, Casterman asked for it to be finished, there were twenty-three finished books, that one story was not finished; so I had to finish it".
A number of List of pirated versions of the story exist, finished by other artists. The first was produced by an artist under the name of Ramó Nash. The second, and more renowned, is by Canadian artist Yves Rodier. Originally drawn and printed (privately) in black-and-white, a color version was produced a few years ago.
In 1976, a few months after the publication of Tintin and the Picaros, Hergé told the journalist and author Numa Sadoul that he was contemplating the next adventure of Tintin — setting an entire story in an airport departure lounge. This idea was eventually dropped, and in 1978, he decided to set the story in the world of modern art. During later years Hergé had grown more and more interested in modern art, even attempting it a few times himself as a hobby; so he chose to incorporate his love of avant-garde artwork into the new story. Hergé was inspired by the Ferdinand Legros and Elmyr de Hory affair, and incorporated a second
element, a new age sect and a phoney guru. He planned to cast Rastapopoulos as the villain, but according to Harry Thompson, dropped the idea in 1980 when he introduced the alphabet art element. Still, an idea exists that the villain Ramó Nash or his accomplice Enddane Akass may be Rastapopoulous in yet another of his disguises.Hergé worked on the book until his death in 1983, and it was published posthumously (despite its unfinished status) in 1986 by Casterman in association with La Fondation Hergé, and was republished in 2004
with further material.In the 2004 edition of the book, nine additional pages are included which present alternative ideas for the story. The most significant include the following:
• A change of lifestyle for Captain Haddock—becoming infatuated with a minimalist painter named Ramó Nash, changing his style of dress, transforming the house, and growing hashish in the cellars at Marlinspike. Haddock and Tintin are accused of drug smuggling, and an investigation takes place in Amsterdam.
• Painting and narcotics; at the Sondenesian embassy (see Flight 714) a grand soirée is held, which is attended by ambassadors for Saboulistan, San Theodoros, Borduria, and Syldavia. Dr. Krollspell (also from Flight 714) makes a reappearance, as director of a brown-sugar factory.
• Captain Haddock suffers from neurasthenia because he can no longer drink whisky. He takes up painting, and becomes infatuated with the painter Ramó Nash. Calculus invents a product that will allow Haddock to drink whisky again; during trials, Haddock loses all his hair and blotches appear on his face.
• Endaddine Akass is revealed as Rastapopoulos. This is not confirmed in the actual book, so there is much speculation as to whether Hergé would have used this idea.
• Background information is given of Akass—we learn that he is involved with Emir Ben Kalish Ezab, an idea not pursued fully in the story.
• An alternative page featuring Rastapopoulos—this would have taken the place of pages 39–40.
• Haddock is invited to an exhibition by the painter Ramó Nash. A number of old acquaintances attend, such as Dawson (The Blue Lotus), the Bird brothers (The Secret of the Unicorn), and Carreidas (Flight 714).
Upon his death, Hergé left around one hundred and fifty pages of pencil sketches for the story. These were edited by a team of experts, including Benoît Peeters, Michel Bareau and Jean-Manuel Duvivier, resulting in forty-two pages of sketches. The album, therefore, only presents the scenarios and sketches of an interrupted tale. However even in its rough state, it is testimony to the extraordinary narrative and graphic talent of Hergé. The story can appear a little disjointed and convoluted at times, although one must remember that Hergé would have recast and edited the story countless times before it was finished.
It is possible that the scenes set at Marlinspike would have been reduced in favour of balance of the story — in the original manuscript, Tintin, Snowy and Haddock do not leave for Ischia until page 31. Furthermore, the scene involving Tintin and Mrs Laijot was marked for possible cutting (20bis on the original manuscript, meaning an additional page 20).
Bob de Moor, Hergé's main assistant, showed an interest in completing the book following Hergé's death. It was not such a surprising request; de Moor had worked with Hergé since 1951, was responsible for running the studios in his absence, adapted the animated film Tintin and the Lake of Sharks into comic-strip form, and worked on the previous book Tintin and the Picaros with Hergé alone. In de Moor's words, "Personally I would have loved to finish Alph-Art. It would have been a tribute to Hergé. Fanny Remi asked me to finish it, and I began work on it, but after a few months she changed her mind. I didn't insist, but for me it was logical that there was a studio, there were artists in the studio, Casterman asked for it to be finished, there were twenty-three finished books, that one story was not finished; so I had to finish it".
A number of List of pirated versions of the story exist, finished by other artists. The first was produced by an artist under the name of Ramó Nash. The second, and more renowned, is by Canadian artist Yves Rodier. Originally drawn and printed (privately) in black-and-white, a color version was produced a few years ago.
Now it will be translated to Bengali. For this I have choose the Rodier version as the original 2004 edition is manuscript type and thus not suitable for any other language.
