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| Musée de la BD d'Angoulême | |
|---|---|
| Name | Musée de la BD d'Angoulême |
| Location | Angoulême, Charente, Nouvelle-Aquitaine, France |
| Type | Museum |
Musée de la BD d'Angoulême is a museum dedicated to comic art and bande dessinée located in Angoulême, Charente, Nouvelle-Aquitaine, France. The institution sits within the cultural landscape shaped by the Angoulême International Comics Festival and engages with creators, publishers, and institutions from France, Belgium, Japan, and the United States. It functions as both a repository for original art and an active venue for rotating exhibitions, residencies, and archival projects involving artists, curators, and scholars.
The museum's origins are linked to the development of the Angoulême International Comics Festival, Angoulême International Comics Festival, which emerged alongside the careers of figures such as Hergé, Franquin, Moebius, Tintin, and René Goscinny. Early civic initiatives by the Municipality of Angoulême, collaborations with publishers like Dupuis, Dargaud, and Glénat, and contributions from collectors enabled a formal institution to preserve material related to creators such as Albert Uderzo, Uderzo, Ruben Oskar Auestad and movements including Franco-Belgian comics and Manga. The museum developed archival partnerships with the Bibliothèque nationale de France and research ties to universities such as Université de Poitiers and Université Bordeaux Montaigne while responding to exhibitions spotlighting authors like Joann Sfar, Enki Bilal, Léo Malet, and Marjane Satrapi.
Significant milestones included municipal approval influenced by cultural policy debates involving figures from Ministry of Culture (France), acquisition drives supported by foundations such as Fondation Cartier pour l'art contemporain and gifts from estates of artists connected to Astérix, Lucky Luke and Blueberry. Retrospectives and legal deposit negotiations invoked stakeholders including publishers Casterman and Les Humanoïdes Associés as the museum refined its mission to collect original pages, sketchbooks, posters, and periodicals documenting serial works like Asterix, Spirou et Fantasio, and Les Aventures de Tintin.
Situated in central Angoulême, the museum occupies a site proximate to landmarks such as the Angoulême Cathedral, the Charente (river), and the historic ramparts associated with Cité d'Angoulême. Architectural choices reflected dialogues with conservation standards from bodies like the Conseil régional de Nouvelle-Aquitaine and input from architects experienced with cultural projects such as those commissioned by the Centre Pompidou, Musée d'Orsay, and municipal projects in Bordeaux. The building's layout accommodates climate-controlled galleries, storage meeting standards comparable to those of the Musée du Louvre and the Musée des Arts Décoratifs (Paris), and spaces for temporary displays inspired by design approaches used at institutions like the Maison de la Photographie and the Musée du Quai Branly.
Urban integration included coordination with the Société d'économie mixte and local cultural programs supported by the Communauté d'agglomération du Grand Angoulême, while transport access links the site to regional rail services at Gare d'Angoulême and road networks connecting to Poitiers and Bordeaux.
The permanent collection comprises original art boards, proofs, and archives from prominent creators and publishers such as Hergé, Franquin, Moebius, Enki Bilal, Marjane Satrapi, Joann Sfar, Hugo Pratt, Mœbius, Will Eisner, Robert Crumb, R. Crumb, George Herriman, Winsor McCay, Stan Lee, Jack Kirby, Frank Miller, Alan Moore, Neil Gaiman, Osamu Tezuka, Katsuhiro Otomo, Naoki Urasawa, Eiichiro Oda, Hayao Miyazaki, Akira Toriyama, Charles Schulz, Peanuts, Bill Watterson, Calvin and Hobbes, Gary Larson, The Far Side, Hermann, Cosey, Tardi, Christophe Blain, Lewis Trondheim, David B., Claire Brétécher, Sempé, Jacques Tardi, Bastien Vivès, Émile Bravo, Jean Giraud, Moebius (artist), and collections from publishers like Dargaud and Glénat. Temporary exhibitions have highlighted thematic strands—genre surveys of superhero comics featuring work tied to Marvel Comics and DC Comics, historical displays on propaganda posters and political cartoons engaging figures such as Honoré Daumier and Goya, and cross-cultural shows exploring manga and manhwa with loans from institutions linked to Kodansha and Shueisha.
Exhibition programming often includes curated sequences of original pages, preparatory sketches, correspondence, and multimedia installations referencing adaptations like the Tintin (film), Persepolis (film), Akira (film), and cinematic works by Hayao Miyazaki and Katsuhiro Otomo.
Educational outreach coordinates with schools under the aegis of the Académie de Poitiers and partnerships with conservatories, galleries, and cultural mediators from institutions like the Centre national du cinéma et de l'image animée and the Institut national de l'audiovisuel. Workshops and masterclasses have involved practitioners such as Joann Sfar, Lewis Trondheim, Marjane Satrapi, and Katsuhiro Otomo as well as translators and editors from Casterman and Dargaud. Residency programs connect emerging artists to networks including Atelier des Vosges and Villa Médicis-style exchanges, while public events align with the calendar of the Angoulême International Comics Festival and regional initiatives by the Conseil départemental de la Charente.
Educational materials and guided tours are produced in cooperation with librarians from the Bibliothèque municipale d'Angoulême and researchers from Université de Poitiers and Université Paris 8 Vincennes-Saint-Denis.
Administration is overseen by municipal and regional cultural bodies including the Municipality of Angoulême, the Conseil régional Nouvelle-Aquitaine, and cultural agencies such as the Ministry of Culture (France) and the Direction régionale des affaires culturelles (DRAC) Nouvelle-Aquitaine. Financial support mixes public subsidies, sponsorships from media groups and publishers such as Europacorp-linked entities, project grants from foundations like Fondation Cartier and private donations from collectors and estates of artists including Hergé and Albert Uderzo. Fundraising campaigns have solicited partnerships with commercial entities in the creative industries, while governance draws on advisory boards including curators, art historians from École du Louvre, and legal counsel experienced with copyright issues related to Société des auteurs des arts visuels et de l'image fixe and collective management organizations.
The museum has been cited in critiques and reportage by media outlets such as Le Monde, Libération, Les Échos, and specialist journals like Scholastic, The Comics Journal, and has influenced scholarship in comic studies at institutions including Université de Liège and Université de Montréal. Its role in elevating bande dessinée within French cultural policy parallels recognition given to creators by awards such as the Grand Prix de la ville d'Angoulême, the Eisner Award, and the Prize for Best Album at the Angoulême festival, while exhibitions have fostered collaborations with international museums including the British Library, the Museum of Modern Art, and the Smithsonian Institution, amplifying the global profile of Angoulême as a center for sequential art.
Category:Museums in Nouvelle-Aquitaine