Willy Vandersteen

Biography

1913–1939

Willebrord Jan Frans Maria Vandersteen was born in Antwerp on 15 February 1913 to Franciscus 'Sus' Vandersteen and Anna Genard. His family lived in the Seefhoek, a poor quarter of the city, where his father worked as a decorator and wood sculptor. His studio was next to a printer that produced De Kindervriend, one of the first weekly youth magazines in Flanders. Willy Vandersteen, only four years old, read the new magazine there every week, including Blutske, an early comic strip. His mother was interested in ballet and singing. One of her favourites, Wieske Ghijs, may well have been the inspiration for the name "Wiske" he gave to one of the main characters in his main series "Suske & Wiske".

Vandersteen was creatively active from his youth. He drew pictures with chalk on sidewalks, and invented stories for his friends about knights and legends. He even convinced his young friends to buy him chalk so he could depict the local cycling championship. At school he was more interested in telling stories and learning about art than anything else. His best memory of these schooldays is of a teacher who introduced him to the works of Pieter Brueghel. Outside school, he spent most of his time with comic magazines and adventure books by Jules Verne or books about Nick Carter and Buffalo Bill. At 13, he enrolled at the Academie voor Schone Kunsten in Antwerp to study sculpture, and two years later he started working as sculptor and decorator, just like his father.

The same year, the family moved to Deurne, a suburb of Antwerp, where he came in contact with nature and with scouting, which both had a profound impact on his character and his later work. With the scouts, he became the troop reporter, writing down heavily illustrated reports on their outings and adventures, in a similar vein as what Hergé did in his scouting period. Through the scouts, he also came into contact with Le Boy-Scout Belge, the Walloon scouting magazine where Hergé made Totor, his first published comic. Vandersteen made a few sequels to these adventures for his friends as amusement, which are the earliest preserved comics he made. He continued to follow the work of Hergé later on. Meanwhile, Vandersteen combined his studies at the academy with his work in his father's workshop until 1935, when the market for stone decorations for houses collapsed.

In between some odd jobs, Vandersteen became an avid sportsman, from gymnastics to cycling to wrestling. His chances improved in 1936 when he was hired as a decorator for the shop and the display windows of L'Innovation, a Belgian chain of warehouses. In the same year, he met Paula Van Den Branden, whom he married on 9 October 1937. After living in Antwerp for two years and having a daughter, Helena, in 1938, the first of their four children, the couple moved to the more rural Schilde in 1939.

1940–1944

In March 1940, two months before the start of World War II in Belgium, Bob, his second child, was born. When the first tribulations of the war were over, Vandersteen could restart his work at L'Innovation. From November 1940 until August 1942, he created his first published comic, Kitty Inno, for the company, consisting of short, simple gags. When the German occupier forbade the publication of American and British comics in the Belgian newspapers and magazines, opportunities arose for local people. On 19 March 1941, the first comic strip of Tor de holbewoner (Tor the troglodyte) appeared in the newspaper De Dag. It continued until January 1942. Already on 26 March 1941 it was joined by De lollige avonturen van Pudifar (The funny adventures of Pudifar), a weekly comic strip about a cat. This was in May of the same year replaced by Barabitje, another comic about a cat, which ended in October 1941.

In 1942, Vandersteen quit his job at L'Innovation and started working at the Landbouw- en Voedingscorporatie (a government organisation for the agricultural sector), where he illustrated some magazines. In those years, the family Vandersteen moved, this time to Wilrijk, another suburb of Antwerp.

That same year, he illustrated the pro-occupation book Zóó zag Brussel de Dietsche Militanten under the pen name Kaproen. In the 1970s Willy denied rumors, based on drawing style, that he had been the real artist behind Kaproen. In 2010 these allegations were confirmed after an investigation demanded by his own family. Unlike his partners, Vandersteen was later not persecuted for his part in publishing the antisemitic drawings, which were considered collaboration with the Nazis.

At the Corporatie, Vandersteen met a colleague whose wife worked at Bravo, a weekly Flemish comics magazine that appeared since 1936 and had a French-language version since 1940. Due to the war conditions, they were desperately in need of local artists to replace the American comics they used to publish. Led by established Walloon illustrator Jean Dratz, a young team was gathered, with artists like Edgar P. Jacobs and Jacques Laudy. Vandersteen joined in 1943, and here his comics career really took off. First he created Tori, a reprise of the prehistoric Tor, and a few weeks later his new comic Simbat de Zeerover (Simbat the Sailor) was published on the cover and in colour, a first for Vandersteen.

For the Antwerp publisher Ons Volk, he created three comics, published as books without a prepublication in a newspaper or magazine. Piwo, about the adventures of a wooden horse, became his first comic album in 1943, and was followed by two sequels in 1944 and 1946. Those comics were also published in French. For the same editor, he illustrated 11 children books. In the same years, he also created the cover illustration for a number of novels from other publishers. In 1944, he also started working for two more magazines, De Rakker and De Illustratie, where he created some comics and made numerous illustrations. To help him with all this work, his wife Paula inked many of his pencil drawings in these years.

1944–1949

After the liberation of Belgium in September 1944, there was a boom of new magazines for the youth, both in French and Dutch. Many of those tried to mix American comics with local artists. Vandersteen worked in these early years for countless publications. He continued publishing in Bravo, with the medieval gags of Lancelot. Having moved to the suburbs of Brussels to avoid the bombardments of Antwerp, he came into contact with some French language editors. French language magazines he contributed to included Franc Jeu, Perce-Neige, and Le Petit Monde. Two of the comics he created for Franc Jeu were also published in albums. By 1947, all these magazines had disappeared.

Defining for his career was the invitation he got in 1944 from the people of Standaard Boekhandel, a chain of bookstores who were also active as publishers. They were interested in his work and wanted to publish some books. Vandersteen presented them with the first designs for a daily comic strip, but they put that on hold and first ordered four juvenile books from Vandersteen. These were published in 1945 and 1946 in Dutch and French (by Casterman).

On 30 March 1945, the daily comic strip Rikki en Wiske started to appear in the newspaper De Nieuwe Standaard, after a positive review by the young illustrator Marc Sleen. It was an immediate success, and the first story ran uninterrupted until 15 December 1945. Vandersteen though was disappointed to see the editor had renamed the strip Rikki en Wiske instead of his suggestion Suske en Wiske, and also felt that Rikki too closely resembled Tintin.

The next story, Rikki disappeared, and the long series of adventures of Suske en Wiske began with the story Op het eiland Amoras, achieving success beyond the author's expectations. The first album appeared in 1946. This story introduced most of the recurring figures and means of transport through space and time, and set the framework for the complete series. Already in 1946, it was also published in the Dutch newspaper De Stem.

On 22 December 1945, three days after the start of Suske en Wiske op het eiland Amoras, appeared the first page of De Familie Snoek (The Family Snoek), a weekly series of gags revolving around a contemporary Flemish family. It lasted for 11 albums.

Apart from these two long lasting newspaper comic strips, Vandersteen made a number of other comics in these years. Most important was his work for Ons Volkske, the youth supplement of the weekly magazine Ons Volk, which from the end of 1945 on became an independent comic magazine. Marc Sleen was editor-in-chief and filled most pages together with Vandersteen. Vandersteen created a number of realistic stories of about 20 pages each, where he developed his own style after starting very much as a follower of Harold Foster. In his usual more caricatural style, he created in August 1946 the recurring gagstrip De Vrolijke Bengels (The Happy Rascals). More adult comics appeared in the magazine Ons Volk.

1950s

Vandersteen could no longer handle the work load on his own. In 1949, he hired his first collaborator, François-Joseph Herman. Herman stayed with Vandersteen only three years. This short tenure was the start of the large Studio Vandersteen, which has continued the series. He was followed by Karel Boumans in 1952, who was an anonymous contributor until 1959. He worked mainly for De grappen van Lambik, a Suske en Wiske spin-off Vandersteen created for the weekly newspaper De Bond, which ran from 24 January 1954 on. He also inked many Suske en Wiske comics, including those in Tintin. Vandersteen devoted himself more and more towards the storytelling and the initial pencil drawing, which he considered the artistic process, while the inking was more of a craft.

The years from 1949 to 1953 are often considered the highlight of Vandersteen's career, when he combined large production with consistent high quality in his stories, the jokes, the many characters, and the graphical aspects, in which the charming quirkiness of the early years was balanced with the more rigorous ligne claire of Hergé. Many of these stories were loosely based on popular classics, ranging from Alexandre Dumas over Buffalo Bill to Richard Wagner's Der Ring des Nibelungen, with as culmination his comic in two parts of the legend of Till Eulenspiegel, made for Kuifje.

Vandersteen spent a lot more time at documentation from this point on. While the early comics were mostly filled by his imagination and visited imaginary countries or stayed close to home, he now started travelling to visit locations for new comics. Visits to Bruges, Monaco and Venice were the inspiration for three stories in Kuifje

In 1953, when Tijl Uilenspiegel was finished, Vandersteen created a new comical strip for Kuifje. 't Prinske told the humorous adventures of a young prince in a fictional country. It lasted until 1959 and ran for some 300 comics.

In 1951, Vandersteen encountered Karel Verschuere, a young unemployed artist. Vandersteen hired him, and Verschuere soon became his main artist for the realistic series. His first series was Judi, a retelling of the Old Testament in four albums, which first appeared in Ons Volkske. The series was not very successful, and Verschuere later finished a fifth part on his own. Verschuere also contributed to the second part of Tijl Uilenspiegel, just like Bob de Moor and Tibet did, but his main contribution to the output of Vandersteen was his work on Bessy, a Western series inspired by the success of Lassie, which started in 1952 in the Walloon newspaper La Libre Belgique. The series appeared under the pseudonym WiRel, a combination of Willy and Karel, indicating the importance of Verschueren's work. He continued working with Vandersteen until 1967, helping with many of the realistic series Vandersteen created in these years, including Karl May, Biggles and especially De Rode Ridder.

1960s

In 1966, Vandersteen finally moved back from Brussels, where he had lived at different locations since World War II, towards Antwerp, and more precisely Kalmthout, a rural village to the north of Antwerp. There, next to his villa, he created the location for his main Studio.

The Bessy comics were also published in Felix, a German comic magazine by Bastei Verlag. From 1965 on, they wanted to publish a complete new story every month, a rhythm they increased to twice a month in 1966. Unable to produce so fast, Vandersteen had to expand his Studio considerably. Led by Karel Verschuere, a team of some ten young artists mass-produced the comics, which were of considerable lower quality. The most important of these artists were Frank Sels and Edgar Gastmans, while many stories were produced by Daniël Janssens. When in late 1967 Verschuere quit, and at the same time Bastei increased the rhythm again, now to one complete comic a week, the Studio was disbanded and Sels and Gastmans started to work on a freelance basis. The next year, they decided to go behind Vandersteen's back and to sell directly to the Germans. Vandersteen then had to reorganize the Bessy Studio and hired Jeff Broeckx. The Studio continued until 1985, with artists like Patrick van Lierde, Ronald Van Riet, Eugeen Goossens, and Walter Laureyssens. It produced more than 900 Bessy-comics.

Bastei Verlag, enamoured by the success of Bessy, asked Vandersteen to provide a second weekly series. With the popularity of superheroes, especially Batman, in Belgium and Germpany in these years, Vandersteen proposed a spinoff series of Suske en Wiske, based on Jerom, the strongman of the series. Called Wastl in German, 173 stories were produced between 1968 and 1972, with a publication that reached 150,000 copies at its summit. The best of these stories were published in Dutch as well, just like it was done with the later Bessy's. The weakness of the stories ended the series after only four years.

The main artists in the Studio Vandersteen in the 1960s and later were Karel Verschuere, Frank Sels, Eduard De Rop, Eugeen Goossens, Karel Biddeloo and Paul Geerts. Eduard De Rop joined the Studio in 1959, after Karel Boumans departed, and stayed for over thirty years. He worked mostly on minor series like Jerom and Pats, and contributed to almost all series, including Suske en Wiske. One of his main contributions was the early adventures of De Rode Ridder. De Rode Ridder was in 1946 created by writer Leopold Vermeiren, and published in books since 1954, with illustrations by Karel Verschuere. The success led to the creation of a comics series as well, with as main contributors Verschuere, Eduard De Rop, and Vandersteen's son Bob. De Rode Ridder became the third main success story of Vandersteen, and is now the longest running series behind Suske en Wiske. Karel Verschuere was replaced by Frank Sels in 1963.

1970s

Paul Geerts joined the Studio in 1968, where he at first worked as an artist on the German Jerom comics. Already in 1969, he replaced De Rop as the main inker for Suske en Wiske. Geerts also drew Vandersteens attention when he proposed a few scenario's for Jerom, and in 1971 he made his first story for Suske en Wiske. From 1972 on, he became the main creator of the flagship series Suske en Wiske, which he continued until the late 1990s. De Rop and Goossens again became the main inkers, with Geerts responsible for the stories and the pencil art. In these years, Suske en Wiske reached its peak popularity, and the older stories now were republished in colours in the main series. In 1975 and 1976, the Dutch television broadcast six puppet movies with new Suske en Wiske stories. They were very successful and sales of new albums reached over 200,000 copies. The merchandising business boomed as well, and commercial comics were one of the main new jobs for the Studio.

The Studio was mainly established with the artists that joined in the 1960s. Two new artists were Erik De Rop and Robert Merhottein, who became the only artist to leave Studio Vandersteen and start his own successful series.

Vandersteen, liberated of the work on the daily comic, started on a comic series based on one of the novels he had read as a youth: Robert en Bertrand, the story of two Flemish tramps at the fin de siècle. The series debuted in De Standaard in 1972. The series was the first in a long time to renew the enthusiasm of Vandersteen, and the graphical quality and the stories were a lot better than most of the Studio production of the time.

For the newspaper supplement Pats, he also created the title series in 1974. He left most of the work to Merhottein. The series changed its name to Tits in 1977 after a lawsuit, and disappeared in 1986.

In 1976, Vandersteen's wife Paula died. He remarried on 25 June 1977 with Anne-Marie Vankerkhoven. Vandersteen, now a celebrated artist with complete TV shows made about him, both in the Netherlands and in Belgium, continued to work on his comics. The same year 1977 gave him a coveted Alfred award from the Angoulême International Comics Festival for the best scenario, for the Robert en Bertrand story De stakingbreker (The Strike Breaker), while in 1978 a Suske en Wiske statue was unveiled in the Antwerp Zoo.

1980s

The next decade was one of mixed successes. Some of the minor or less successful series ended: Robert en Bertrand, a critical and never a commercial success, folded in 1993, 8 years after Vandersteen had stopped writing the stories. Jerom and Bessy both were restyled and disappeared a few years later in 1988 and 1993. Pats, later renamed Tits, already disappeared in 1986.

Suske en Wiske meanwhile was a steady success, and although the sales have dropped from the peaks of the 1970s continues to be one of the most popular Flemish comics.

Willy Vandersteen created one last new series in 1985: De Geuzen, a historical, humoristic comic set in Flanders in the sixteenth century. Similar in theme to the thirty years older Tijl Uilenspiegel, the comic combined many of Vandersteen's passions, including the art of Pieter Brueghel the Elder. It contained his most mature, developed characters, compared to the often one-dimensional characters of his earlier series, and reached a graphical level that approached his work for Kuifje. The comics were not prepublished and were mostly created by Vandersteen alone, which ensured the quality and also decreased the publication rhythm. Only ten albums appeared, and the series ended with the death of Vandersteen.

Death

Willy Vandersteen died on 28 August 1990, weakened by a lung disease. He continued working until shortly before his death, and his Studio still continues, with Suske en Wiske and De Rode Ridder as main series.

Themes and influences in the work of Vandersteen

Willy Vandersteen used a wild variety of themes and influences in his work from early on. He made fairytales, historic series, westerns, but also science fiction and many contemporary comics. While some series like De Familie Snoek and Bessy stuck very close to their origin (an everyday Flemish contemporary family for the former, and a pioneer family in the American Old West in the latter), others were more loose. De Rode Ridder, the story of a medieval knight, wandered from Arthurian tales over the crusades until the explorations of the fifteenth and sixteenth century, thereby spanning some ten centuries, and later (when Vandersteen was less involved in the series) brought in many elements of sword and sorcery and fantasy.

Suske and Wiske is a contemporary series, but many stories used the plot device of time travelling, either by a machine or by some poetic device. This enabled stories to evolve in a myriad of periods, often again in the Middle Ages though. Furthermore, did Vandersteen use local legends of Antwerp and Limburg, parodies of American superhero series like Batman, science fiction, and popular TV series. Vandersteen also got inspiration from the different long journeys he made, like his long trip to the Far East in 1959. Some of the earliest realistic comics of Willy Vandersteen also clearly show the strong influence he has had from American comics like Prince Valiant and Tarzan, but he later developed his own distinctive style.

International success

Vandersteen always strived to have success beyond Flanders, and reduced the typically Flemish character of his comics soon after his debut. He already worked and published in French during the War, and already in the 1940s he expanded the reach of Suske en Wiske to the Netherlands with some newspaper publications, and to Wallonia and France through the publication in Tintin magazine. All Suske en Wiske albums, and many albums of other series like De Familie Snoek, were also published in French by Erasme. Bessy was even first created for a Walloon newspaper, before being translated in Dutch. By 1978, an estimated 80 million Suske en Wiske albums had been sold in Dutch.

Other countries and languages followed soon. The first German translations appeared in 1954, and in the 1960s Bessy and to a lesser extent Jerom were an enormous success, with combined over 1000 weekly comics with a circulation of some 200,000 copies. Later in the 1950s followed publications in Chile and Portugal, and Spain followed in the 1960s. In the following years, Vandersteen's comics and especially Suske en Wiske were published in dozens of languages, but in most cases only one or a few albums are translated. More 9 albums were published in the United States, and in Sweden 69 albums were published, accompanied by merchandising. The Finnish series experienced success as well.

Merchandising

In the 1950s started the merchandising around Suske en Wiske. Vandersteen, always a businessman as well as an artist, was enthusiastic when he got the proposal to make a puppet show of the series. Already in 1947, the first puppets were for sale. They were followed by a series of 5 hand puppets in 1957 and a Jerom-game in 1960. In 1955, two years after the start of television in Flanders, an animated adventure of Suske en Wiske was broadcast every Saturday afternoon. Other merchandising ranged from Suske en Wiske drinking glasses in 1954 to 5 large handpainted ceramic statues of the main heroes in 1952. Coloring books, calendars, puzzles, ... followed soon. Two records were released by Decca in 1956. Vandersteen also created a number of commercial comics with Suske en Wiske, starting with a touristic comic for the province of Antwerp in 1957.

Awards and recognition

1959: Honorary citizen of the community Deurne near Antwerp

1974: Honorary citizen of Kalmthout.

1977: Angoulême International Comics Festival prize for Best Foreign Author, France

1988: A statue of Vandensteen, with Suske en Wiske was erected in Hasselt.

1997: The Suske en Wiske Museum was opened in Kalmthout.

2006: A bust of Vandersteen was erected on Willy Vandersteen Square, Kalmthout.

2007: Prestige award at the Prix Saint-Michel in Brussels

From 2010, the Willy Vandersteenprijs is organized, a Flemish-Dutch comics album prize.

2013: A playground in Antwerp, Willy Vandersteenplein, was renovated.

2023: A Willy Vandersteen-day was organized in Kalmthout on 20 May.

Books about Vandersteen, including De Bruegel van het Cartoon (1994), De interviews-De Foto's 1945-1990 (2005) and Willy Vandersteen: een leven in Kalmthout (2007).

According to UNESCO's Index Translationum, Vandersteen is the sixth most often translated Dutch language author, after Anne Frank, Dick Bruna, Cees Nooteboom, Guido van Genechten, and Phil Bosmans and before famous authors as Janwillem van de Wetering, Harry Mulisch, Hugo Claus, and Johan Huizinga.