« Topor is probably the greatest graphic mind of the twentieth century. » — Seymour Chwast
Well, that’s quite a lofty claim… but considering the source, one that must be seriously considered.
Are you familiar with Roland Topor‘s work? Perhaps you’ve seen Roman Polanski’s 1976 adaptation of Topor’s novel Le locataire chimérique (1964). Or seen the singular animated film La planète sauvage / The Fantastic Planet (1973). Maybe you’ve seen some of his arresting film poster art (The Tin Drum, Realm of the Senses… and more). Were you perhaps an early reader of France’s legendarily transgressive magazine, Hara-Kiri, journal bête et méchant? Or, at the other end of the scale, did you grow up with Groucha, Lola and the Gluons on his charmingly bizarre 1980’s kids’ show, Téléchat?
All the same, Topor (Jan. 7, 1938 – Apr. 16, 1997) — eighty-four years ago today — is one of those rare fellows (like, say, Shel Silverstein) who achieved great success at whatever they undertook… and without compromising their vision. Painter, actor, scenarist, playwright, director, affichiste, cartoonist, illustrator… he did it all, and he did it all well. I’m happy to say that his legacy seems safe, if his posthumous presence online and in galleries and minds is any indication. And I’ve rarely had so much trouble paring down my selections, so prolific and versatile and hard-hitting was he. Dig in!
This is a typical, if striking example of the sort of work Topor was producing in the early 1960s (largely for Hara-Kiri — some three hundred drawings in a five-year span), and one wasn’t sure if his draughtsmanship could keep pace with his ideas. I like to call this one ‘La ruelle armée’.
A bit of Photomaton–fumetti from Mr. Topor, circa the 1960s. To the right: nothing. To the left: nothing. Behind me: nothing. Before me: a moron!
Topor recycled the punch-in-the-kisser motif several times; it was first used for a Hara-Kiri promo poster in 1961.
A pair of excerpts from 1974’s L’Épikon. I love the concept: Topor graphically (and fancifully) elaborated upon some antique pornographic photos. « In Warsaw, a housekeeper, by piety sucked the church candles. By dint of polishing the tallow, she skinned her lips and blushed like a virgin. »
« A Las Vegas whore, who resided in a palace, resorted to a trick to tame phalluses: she illuminated her snatch. » Here’s more from L’Épikon.La roue (the Wheel) — 1973.Another bit of recycling: first created (I think!) for Revue Mépris n° 1 (1973, Éditions Kesselring), Topor donated this powerful piece to Amnesty International for its worthy promotional work, such as this 1977 print ad. « Is Freedom of Speech Lethal? ».
This sardonic piece appeared in the collection L’amour à voix haute (“Love Out Loud”); the English version was entitled Je t’aime: A Pillow Talk, and used it as its cover.
Les nouvelles en trois lignes I (The News in Three Lines) – 1975. Comics!
Le saut périlleux (the somersault) – 1980.
« Pain, according to Topor. »
« Leaving pain behind, according to Topor. » (1982)
I’m happy to say that, with the years, his work just kept evolving and, in some ways, improving. This poster was created to promote the 1984 edition of a drawing festival held every other year.
Who's Out There? 
🎵 Y’a qu’une télé, c’est Téléchat, Téléchat ! 🎵
LikeLiked by 1 person
Topor was even creepier than Klaus Kinski in Herzog’s Nosferatu.
LikeLiked by 1 person
Seeing Fantastic Planet as a kid freaked me out, nightmare wise, more so than Yellow Submarine’s art work.
LikeLike