The Hand Of The Artist

Yesterday, I went to see an exhibition of the work of <a href="https://en.wikipedia.org/wiki/Jean-Jacques_Semp%C3%A9" rel="noopener ugc nofollow" target="_blank">Jean-Jacques Sempe</a> at the <a href="https://fiaf.org/" rel="noopener ugc nofollow" target="_blank">French Institute</a> in New York City. Many remember him as the illustrator of <a href="https://en.wikipedia.org/wiki/Le_Petit_Nicolas" rel="noopener ugc nofollow" target="_blank">Le Petit Nicolas</a> children’s books, but I know him for his work for The New Yorker. He died last August at age 89. <img alt="" src="https://miro.medium.com/v2/resize:fit:700/1*V5Qi4lE7a4B7SIYoBKOENQ.jpeg" style="height:746px; width:700px" /> The exhibit is a visual treat and a reminder to us, in this new AI world, of the need for the hand of the artist. He began doing covers for The New Yorker in 1978, right as I was forging out into the world to see if I had a career in drawing. I had not yet sold to The New Yorker, it would be another year before I did. I don’t recall the first time I saw his work-it could have been before that because I was very much aware of some French cartoonists. But his drawings definitely influenced mine. <a href="https://lizadonnelly.medium.com/the-hand-of-the-artist-c597fea67e65">Visit Now</a>