College Hans Arp visits the Tomi Ungerer Museum on September 15, 2015

On September 15, the fourth of six classes of Hans Arp College visited the Tomi Ungerer Museum, one after another on September 15 2015. Martine Debaene, cultural mediator, welcomed them. When introduced, he presented three important works to demonstrate the strong commitment of Tomi Ungerer with respect to social issues: political posters and two bonding … drawing he made ​​for us and our program, museums, words. Then the students went in search of the children’s books where the artist also make work.

Une des 6 classes de 4e du Collège Hans Arp lors de leur visite au Musée Tomi Ungerer le 15 septembre, 2015

One of the six classes of the College Hans Arp during their visit to the Museum of Tomi Ungerer on September 15, 2015

Groupe d'élèves devant les dessins pour FLIX

A group looking at the original designs


3 Tomi Ungerer works presented during the introduction:

UNGERER_77979172449_Poster Art_Eat_mb

Tomi Ungerer, Eat, 1967

Reproduction offset, 68×53 cm

2015 © Tomi Ungerer/Musées de Strasbourg, Crédit photo Musées de Strasbourg


Freedom strength

Eat (“Eat”) is part of a series of posters against the Vietnam War, commissioned by the American University of Columbia, in 1967. Judged too violent, these posters are denied. Ungerer, pacifist, publishes in September with his own money. “Eat” is one of the best known, it represents an Asian swallowing force the Statue of Liberty, symbol of America. Here the symbol of freedom changes nature to become an instrument of torture and it is in this sense of movement as Tomi Ungerer is extremely critical and lucid. The instrumentalization by political ideals in a game of power is denounced here.

This poster is also a desire to return to the hegemony of the United States in a conflict between the blocks of the east and west in a territory that is not theirs. The third world war is avoided but conflicts persist distance between the pro-communist and pro-American. Tomi will Kubrick poster Dr Strangelove proposals where the finger is placed on the red button on the atomic bomb.

The color palette is reduced to intensify the dramatic side: white for America, yellow for Asia, red lettering blood for the war and black for the dark side of any conflict.


Tomi Ungerer, Black Power, White Power, 1967 Affiche, reproduction offset, 490 x 710 mm 2015 © Tomi Ungerer/Musées de Strasbourg, Crédit photo Musées de Strasbourg

Tomi Ungerer, Black Power/White Power, 1967
Poster, reproduction offset, 490 x 710 mm

2015 © Tomi Ungerer/Musées de Strasbourg, Crédit photo Musées de Strasbourg


Power white or black … Is that the right question?

Poster Black Power / White Power has become one of the most famous images of political and satirical cartoonist. Originally designed for the cover of New York magazine Monocle, it was then published as d000’affiche form.
On the very hot topic in the sixties of racial segregationist, Ungerer boldly raises the question of the responsibility of each side representing a black man and a white man placed upside down like a playing card and which company devour. The use of brown contrasted with the white and black and the simplified graphics accentuate the dramatization of the scene.

In this image all racist stereotypes are present: the black has large white teeth, a nice butt nice round, very long legs and thin (poverty, race) a bump on the shoulder as if centuries of slavery the had vaulted; white long nose, a bounced belly, little hair. Brown background and refers to those who have been called chocolate or cocoa, from the blending and kind of silent and formless mass in the background.

Black Power slogan refers to the Black Panthers, the peace movement at the origin but which becomes an extremist movement calling for armed struggle. The White Power slogan is that of the Klu Klux Klan, a racist and fascist movement deeply rooted in the southern United States, for which the life of a Black is worthless.

In 1967, all the pacifist struggles for equality were fought and won in terms of laws but renewed violence leads people to oppose. A swastika arm appears represented in the leg of the characters as a reference in contemporary history that the hatred of the other can cause. Without dialogue, everyone thinks only devour the other.



Tomi Ungerer, Untitled, 2014

Crayon and color ink wash and collage on paper, 42 x 29 cm.

2015 © Tomi Ungerer/Musées de Strasbourg, Crédit photo Musées de Strasbourg

Exploding with anger.

According to the artist, the girl depicted in the drawing-collage he made for “Evils, museums words / curating a Culture of Respect” is shouting very loudly. She is so angry that she broke.

His message?

Violence leads nowhere. Neither the victims, nor for the oppressors.

Other messages? May be that of isolation, that of the person who is in a situation of harassment or subjected to violence. The idea of ​​the broken mirror can thus represent a broken identity.

It is interesting to note that “our” drawing it uses the same plastic means that the two posters. They consist of a limited number of figures drawn in a very simplified way with a limited number of colors also here with the black and white there is only a red stain, concentrated on the mouth of the girl, at the center of ‘image. But for this drawing, Tomi uses the collage technique: the young girl drawn on white paper is literally cut. She is stuck exploded against a black background which gives even more force to his drawing.