DMusée Maillol, located in the 7th arrondissement of Paris, advertises the curved facade of the Baroque city palace. The exhibition area itself is accessed through narrow ducts of modern expansion, and its foyer is filled with museum shops.It’s all about AsterixAt first glance, considering the sculptor Aristide Maillol, who died in 1944, his preference for female nudes in this house, this is not what one would expect. And if you walk along the narrow spiral staircase to the special exhibition area, at the top of the staircase, you will see a life-size bronze nude, squatting down in a thinking posture similar to the god of death Rodin, behind the lively parade wall Black and white comic characters, none of the eyes are for naked green.
It is difficult for you to talk about Maillol’s measurement results with the dwarf Asterix or his obese partner Obelix (“No, I am not fat!”). But this is not about Aristide Maillol, but about Albert Uderzo, who is the draftsman for the entire comic series phalanx, and these series are now overshadowed by his success in the world “Asterix”. Uderzo died shortly before his ninety-third birthday in March last year. In order to review his work in Musée Maillol, the widow and daughter published the work that the draftsman himself kept in the studio. Therefore, you can call it the documentation of Uderzo’s favorite site. Another major lender is the National Library. A few years ago, Udelzo and the heir to his long-time scenario writer Rene Gossini generously donated the original pages of “Asterix”. Probably no other comic book character can embody the French self-image like the little Gaul warrior. An important Uderzo exhibition should be a national act.
The museum is looking for a new audience for Asterix
The Musée Maillol’s exhibition is huge, but its location in the private museum is wrong. Since its opening in 1995, it has a rich history of operation. It’s not so much because of the lack of Maillol relationships in Uderzo’s paintings—he painted some ideal figures of American superhero spirit in the 1940s—but because of the rooms, which are disappointingly profanity and hinder creative exhibition drama. But it is also possible that the strong involvement of the von Uderzo family prevented any creative treatment of the works of the dead nobles.
For Musée Maillol, after the long-term pandemic-related closure, this was the beginning of a repositioning of the masses. Now the family of Maillol’s last muse and later gallery owner Dina Vierny, she kept her in the house The collection, command again. It is certainly not more popular than Uderzo, and has more than 250 items, you can squeeze into almost small rooms as much as possible-character names like Franz Katzenblummerswihundwagenplaftembomm are almost a miracle, used by the witty and malicious Goscinny in 1967 The name for the common Indian series “Umpah-Pah” puts forward the idea of bringing friend Uderzo to the limit of his speech bubble, which also fits on the wall.