Fred

Fred: Bold Lines and Moustache Twirling

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« Crosses and gallows – that deadly historic juxtaposition. » — Howard Zinn

Bonsoir, mesdames et messieurs…

All right, time for me to tackle (though a bit sideways, I’ll explain) another of my daunting heroes. This time out, it’s Frédéric Othon Théodore Aristidès (1931-2013), better — and more simply — known as ‘Fred’.

A compulsive and constant scribbler, he attended no institute of artistic learning but his own (and didn’t bother to complete his secondary education), and made inroads into the field by the dawn of the 1950s, landing in Ici Paris, France-Dimanche, Le Rire, Paris-Presse, France-Soir, Punch, and even as a gagman (uncredited!) for The New Yorker (others, among them Otto Soglow, would illustrate the gags for publication).

In 1960, he was, with Georges Bernier — aka Le professeur Choron — and François Cavanna, of the founding trio behind corrosive (and at times banned by the French government) satirical magazine Hara-Kiri, drawing its first sixty covers… and a lot of (self) righteous ire. Any press is good press, or so they say…

Mid-decade, he began his long and fruitful association with Pilote, launching, with the magazine’s 300th issue (July 22, 1965, Dargaud) his undeniable masterpiece, Philémon. And this is where my ‘sideways’ loophole comes in: I’m truly not ready to tackle the overflowing poetic cornucopia that is Philémon. By way of introduction, I’ll stick to the margins and showcase instead some of Fred’s ‘brutish and nasty’ (a rough translation of Hara-Kiri’s motto) panel cartoons and short pieces. There’s a lot to this guy.

Which reminds me of a time, a couple of decades ago, when Montreal’s FIFA (Festival international des films sur l’art/International Festival of Films on Art) presented a series of TV shows showcasing individual cartoonists, among them Chris Ware, Art Spiegelman… and Fred. I recall that Messrs Ware and Spiegelman were just as miserable and neurotic as expected, there was also this Manga master that felt trapped as a cog in an assembly line. Meanwhile, in sharp contrast to the existential angst, Fred was brimming with evident delight and joie de vivre at his good fortune to be a working cartoonist*, grinning and scribbling in his sun-dappled studio, leisurely strolling through his village, charming the ladies, enjoying a glass of wine and a wedge of fine aged cheese… I concluded that here was an eloquent encapsulation of the respective cartooning cultures of a few nations. Regrettably, I haven’t been able to track down this documentary series, not even in the FIFA archives. Nevertheless, here’s a short visit with the dear man, by then living in Paris.

As life tends to imitate art, so has this more or less come to pass.
Obviously, you can’t nag anyone into quitting. This ingenious collage strip appeared in Pilote no. 670 (Sept. 1972, Dargaud).
An example — quite literally — of gallows humour.
Too much of a good thing can kill you — or ‘You may come to rue your mockery’.
If one looks for common ground between the more… mordant of French cartoonists, you’ll find their shared, blistering contempt for their nation’s Military brass.
The title is a French idiom which roughly translates to “There’s a nip in the air”. This collection of short pieces Fred wrote and drew for Pilote was published in early 1973 by Dargaud.
At one end, “Live Human Shooting”; at the other, “Free Admission”.
You want it darker? Oh, and also seasonal? Well, your wish is my command.

-RG

*this is serious, though: when Fred stopped drawing comics in the late 1980s, he fell into a deep depression and wound up in a psychiatric hospital. The cure? A return to creating comics. Surely there’s a lesson in this.