Notre selection

For several years now, Soledad has been collaborating with Image Republic, creating a very colourful collection of feminine illustrations.

“When I’m grown up, I will buy myself a classroom, but just so that I can play in it.” Goscinny invented a child’s language that appealed to children and made their parents smile. Paired with Sempé’s wonderful drawings, the stories of Little Nicholas became international bestsellers and achieved the status of classics of French literature. The small schoolboy’s success was primarily based on the amazing closeness of a magical duo: Goscinny and Sempé. The two young authors created a whole universe. “Goscinny turned up with a text in which a child, Nicolas, talked about his life with his friends, who all had strange names - Rufus, Alceste, Maixent, Agnan, Clotaire - while the assistant principal was called Bouillon (Broth). We were on the way: René had hit on the right formula”, said Sempé. Little Nicolas’ first adventure was published on 29 March 1959 in Sud Ouest Dimanche. The response from the newspaper’s readership was enthusiastic. For seven years, Goscinny and Sempé brought alive Nicolas every single week, creating 222 stories in the process. They brought alive their own childhood memories through Nicolas and his friends. “Although I was never a Gaul or a cowboy, I was a child, as was Sempé, of course. The stories were inspired by his memories and my own memories, feelings rather than actual memories, such as the smell of pain au chocolat at the end of the school day, the atmosphere at playtime, all the bustle of childhood that Sempé really and truly captured”, said Goscinny. 

For several years now, Soledad has been collaborating with Image Republic, creating a very colourful collection of feminine illustrations.

Côte d'Azur, land of contrasts and summer paradoxes. From the pool to the sea, red rocks and tanned skin are combined with incandescent white. Monsieur Z invites us to summer, to the edge of infinity or to just a good book.

Seen from the old port, the bonne mère overlooks the sailboats, pointy and other boats that cross its waters. Marseilles reveals itself in all its splendor, under the pen of Paolo Mariotti, with the magnificent pink and yellow facades of the new quay, and the tangle of heterogeneous buildings, as far as Notre Dame de la Garde. From the top of her hill, she watches over the bay. For centuries, the survivors of storms or shipwrecks have covered it with ex-votos for its gracious protection.

For several years now, Soledad has been collaborating with Image Republic, creating a very colourful collection of feminine illustrations.

For several years now, Soledad has been collaborating with Image Republic, creating a very colourful collection of feminine illustrations.

It doesn't matter if there are two of us, seems to say Jean-Jacques Sempé on this tasty drawing where we find all his art of detail, composition and shifting. The draftsman has made himself the observer par excellence of the small twists and winks of everyday life, in the city or at the sea, from France to the United States. The infinite is in constant dialogue with the infinitesimal, solitude with the crowd, intimacy with the sociological.

Paulo Mariotti takes us to Rio de Janeiro, with the enigmatic panorama of Guanabara Bay where buildings and rocks seem to compete for access to the open sea. Between swarming piles and confrontation of reliefs, the Brazilian illustrator lets our gaze float on this vertiginous coastline nibbled by urbanization. The composition even comes to tame the Sugar Loaf, this giant granite block both resisting the onslaught of the city and perched to contemplate the horizon. A landscape of sensations between suffocation and breath of air, not to forget to go up there, if you go to Rio.