Editing Hergé (section)

=== {{Anchor|Personal crisis}}Studios Hergé and Fanny Vlamynck: 1950–1965 ===<!-- Other articles linked approximately here before the "Personal crisis" section heading was removed. -->

On 6 April 1950, Hergé established [[Studios Hergé]] as a [[public company]].{{Sfnm|1a1=Farr|1y=2001|1p=141|2a1=Assouline|2y=2009|2p=147|3a1=Peeters|3y=2012|3p=226}} The Studios were based in his [[Avenue Delleur]] house in Brussels,{{Sfn|Peeters|2012|p=226}} with Hergé making a newly purchased country house in [[Ottignies-Louvain-la-Neuve|Céroux-Mousty]] his and Germaine's main residence.{{Sfn|Peeters|2012|p=229}} The Studios would provide both personal support to Hergé and technical support for his ongoing work.{{Sfn|Assouline|2009|p=148}} The Studio initially had only three employees; the staff would increase to 15, all of whom were working on Hergé's projects.{{Sfn|Assouline|2009|p=149}} He hired [[Bob de Moor]] as his primary apprentice at the Studios in March 1951.{{Sfnm|1a1=Assouline|1y=2009|1pp=152–153|2a1=Peeters|2y=2012|2p=231}} Impressed by Jacques Martin's work on ''The Golden Sphinx'', Hergé persuaded Martin to join the Studios in January 1954; Martin insisted on bringing with him his own two assistants, [[Roger Leloup]] and Michel Demarets.{{Sfnm|1a1=Assouline|1y=2009|1p=153|2a1=Peeters|2y=2012|2pp=249–250}} During the early 1950s, a number of those convicted for collaborating with the Nazi occupiers were freed from prison. Sympathetic to their plight, Hergé lent money to some and aided others in getting jobs at ''Tintin'' magazine, much to Leblanc's annoyance.{{Sfnm|1a1=Assouline|1y=2009|1pp=149–150|2a1=Peeters|2y=2012|2pp=233–234}} For instance, as well as lending him money, Hergé used his connections to secure Raymond de Becker a job in Switzerland as a book shop sales inspector.{{Sfnm|1a1=Assouline|1y=2009|1p=150|2a1=Peeters|2y=2012|2pp=234–235}} He also hired those associated with collaboration for his Studios; his new colourist, Josette Baujot, was the wife of a recently assassinated member of the [[Walloon Legion]],{{Sfnm|1a1=Assouline|1y=2009|1p=149|2a1=Peeters|2y=2012|2p=250}} and his new secretary, Baudouin van der Branden de Reeth, had served a prison sentence for working at ''Le Nouveau Journal'' during the occupation.{{Sfnm|1a1=Assouline|1y=2009|1p=150|2a1=Peeters|2y=2012|2p=248}}

Hergé had developed the idea of setting an ''Adventure of Tintin'' on the moon while producing ''Prisoners of the Sun''.{{Sfn|Farr|2001|p=135}} He began serialisation of ''[[Destination Moon (comics)|Destination Moon]]'', the first of a two part arc followed by ''[[Explorers on the Moon]]'', in ''Tintin'' magazine in March 1950.{{Sfn|Lofficier|Lofficier|2002|p=63}} In September 1950, Hergé broke off the story,{{Sfnm|1a1=Peeters|1y=2012|1p=227|2a1=Goddin|2y=2011|2p=13}} feeling the need for a break from work, having fallen back into clinical depression. He and Germaine went on holiday to Gland before returning to Brussels in late September.{{Sfn|Peeters|2012|pp=227–228}} Many readers sent letters to ''Tintin'' asking why ''Explorers on the Moon'' was no longer being serialised, with a rumour emerging that Hergé had died.{{Sfn|Peeters|2012|p=230}} ''Explorers of the Moon'' would resume after an eighteen-month hiatus, returning in April 1952.{{Sfnm|1a1=Thompson|1y=1991|1p=149|2a1=Farr|2y=2001|2p=141|3a1=Peeters|3y=2012|3p=232}} Alongside his work on the new stories, Hergé also made use of the Studios in revising more of his early works.{{Sfn|Assouline|2009|p=159}}

In February 1952, Hergé was involved in a car crash in which Germaine's leg was shattered; she had to have a steel rod implanted in it, and was confined to a wheelchair for several months.{{Sfnm|1a1=Assouline|1y=2009|1p=179|2a1=Peeters|2y=2012|2p=239}} Their relationship was further strained when they received news of Wallez' death in September 1952.{{Sfnm|1a1=Assouline|1y=2009|1p=179|2a1=Peeters|2y=2012|2p=240}} His friendship with Van Melkebeke also broke apart in this period, in part due to advice gained from an alleged [[Clairvoyance|clairvoyant]], [[Bertje Janueneau]], upon whom both Hergé and Germaine were increasingly relying for guidance.{{Sfn|Peeters|2012|pp=240–242}} In January 1955 a young woman named Fanny Vlamynck [[:fr:Fanny Rodwell|(fr)]] was hired as a colourist at the Studios. Hergé embarked on an extramarital affair with her in November 1956, with the rest of the studio staff soon finding out.{{Sfnm|1a1=Assouline|1y=2009|1p=180|2a1=Peeters|2y=2012|2pp=260–361}} Germaine grew suspicious of her husband's affections for Fanny, but was also experiencing a strong romantic attraction to her ballroom dance partner.{{Sfn|Peeters|2012|p=261}} Hergé and Germaine went on a cruise for the former's 50th birthday in May 1957, during which they visited [[Casablanca]], [[Rabat]], [[Palermo]], and [[Rome]]. They went on a second holiday to [[Ostend]] in October.{{Sfn|Peeters|2012|p=262}} Following the trip to Ostend, he revealed his affair with Fanny to Germaine.{{Sfn|Peeters|2012|p=263}} He began experiencing traumatic dreams dominated by the colour white and, seeking to explain them, he visited Franz Ricklin, a [[psychoanalysis|psychoanalyst]] who was a student of [[Carl Jung]] in [[Zürich]] in May 1959.{{Sfnm|1a1=Assouline|1y=2009|1pp=190–191|2a1=Peeters|2y=2012|2pp=275–278}} In February 1960, he returned to Switzerland, and upon his return to Brussels, he began renting an apartment in [[Uccle]], away from Germaine.{{Sfn|Peeters|2012|p=285}} His relationship with Germaine had ended, although due to restrictions under Belgian law he was unable to obtain a divorce until 17 years later.{{Sfn|Peeters|2012|p=285}}

[[File:Herge's abstract artwork.jpg|thumb|right|One of Hergé's abstract artworks]]

In September 1958, ''Tintin'' magazine moved its headquarters to a newly constructed building near the [[Brussels-South railway station|Gare du Midi]].{{Sfn|Peeters|2012|p=265}} Hergé continued to feud with Leblanc over the direction of the magazine; his constant absences had led to him being replaced as artistic director, and he demanded that he be reinstated. Leblanc relented in early 1965, although Hergé soon departed to [[Sardinia]] for six weeks.{{Sfn|Peeters|2012|pp=291–292}} In October 1965 Leblanc appointed the cartoonist [[Greg (cartoonist)|Greg]] to be editor-in-chief of the magazine, believing him capable of reforming the paper to remain relevant to the youth of the day.{{Sfnm|1a1=Assouline|1y=2009|1p=197|2a1=Peeters|2y=2012|2p=292}} By this point, ''Tintin'' magazine was at its commercial peak, with sales of 600,000 a week, although Hergé had lost much of his interest in it.{{Sfn|Peeters|2012|p=292}}

Supported by his studio, Hergé produced ''[[The Calculus Affair]]'' in 1954–1956 and ''[[The Red Sea Sharks]]'' in 1956–1957.{{Sfn|Assouline|2009|pp=175–8; 260}} Hergé's book sales were higher than ever, and translations were being produced for the British, Spanish, and Scandinavian markets.{{Sfn|Peeters|2012|p=264}} He was receiving international press attention, with articles on his work appearing in ''[[L'Obs|France-Observateur]]'', ''[[The Listener (magazine)|The Listener]]'', and ''[[The Times Literary Supplement]]''.{{Sfn|Peeters|2012|p=266}} Paul Vandromme authored an uncritical book on Hergé, ''Le Monde de Tintin'' ("The World of Tintin"), published by [[Éditions Gallimard]] in 1959; Hergé vetoed the inclusion of a proposed preface by [[Roger Nimier]] after finding its praise for his own work too embarrassing.{{Sfnm|1a1=Assouline|1y=2009|1pp=181–183|2a1=Peeters|2y=2012|2pp=266–267}} Radio adaptations of ''The Adventures of Tintin'' were produced,{{Sfn|Peeters|2012|p=267}} as was an animated cartoon series produced by [[Belvision Studios]], ''[[Hergé's Adventures of Tintin]]''.{{Sfn|Peeters|2012|p=267}} Two live-action films were also produced, ''[[Tintin and the Golden Fleece]]'' (1961) and ''[[Tintin and the Blue Oranges]]'' (1964), the former of which Hergé had been closely involved with.{{Sfnm|1a1=Assouline|1y=2009|1p=227|2a1=Peeters|2y=2012|2p=268}}

Developing an interest in [[modern art]], in the early 1960s Hergé befriended the art dealer Marcel Stal, owner of the Carrefour gallery in Brussels.{{Sfnm|1a1=Assouline|1y=2009|1pp=216–217|2a1=Peeters|2y=2012|2p=303}} He was a particular fan of the work of [[Constant Permeke]], [[Jakob Smits]], [[Lucio Fontana]], and Jean-Pierre Raynaurd, as well as the [[pop art]] movement, in particular the work of [[Roy Lichtenstein]].{{Sfn|Peeters|2012|p=304}} He built up his own personal collection, which consisted of both modern paintings as well as [[African art]] and [[Chinese ceramics]].{{Sfn|Assouline|2009|pp=215–216}} In 1962, Hergé decided he wanted to paint. He chose [[Louis Van Lint]], one of the most respected Belgian [[Abstract art|abstract painters]] at the time, whose work he liked a lot, to be his private teacher.{{Sfnm|1a1=Assouline|1y=2009|1p=218|2a1=Farr|2y=2007|2p=39}} Hergé took up painting as a hobby,{{Sfn|Peeters|2012|p=295}} producing abstract art works which were influenced by the styles of [[Joan Miró]] and [[Serge Poliakoff]].{{Sfn|Peeters|2012|p=302}} He showed his work to the art historian Léo Van Puyvelde, who was the chief conservator of the Musées des Beaux-Arts, who believed that they showed promise, but that Hergé's real talent lay with cartooning.{{Sfnm|1a1=Assouline|1y=2009|1p=218|2a1=Peeters|2y=2012|2p=302}} Hergé abandoned painting shortly after, having produced 37 paintings in all.{{Sfnm|1a1=Assouline|1y=2009|1p=218|2a1=Peeters|2y=2012|2p=302}} Spending less time on new ''Adventures of Tintin'', from June to December 1965 ''Tintin'' magazine serialised a redrawn and newly coloured version of ''The Black Island'' prepared by staff at Studios Hergé.{{Sfn|Peeters|2012|p=293}}