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376:—a visual style he continued with throughout his career. He expresses a broad variety of emotions through understated, unexaggerated gestures. Most characters are given simple, passive expressions, which provides emphatic contrast with characters expressing more explicit emotion—love, despair, ecstasy. He considered
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partly autobiographical, which he emphasized with a pair of self-portraits that open the book—in the first, Masereel sits at his desk with his woodcutting tools, and in the second appears the protagonist, dressed in identical fashion with the first. Literature scholar Martin S. Cohen wrote that
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that replaced it—artists of the time took to the rougher woodcut to express angst and frustration. From 1917 Masereel began publishing books of woodcut prints, using similar imagery to make political statements on the strife of the common people rather than to illustrate the lives of Christ and the
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remarked, "If everything were to perish, all the books, monuments, photographs and memoirs, and only the woodcuts that [Masereel] has executed in ten years were spared, our whole present-day world could be reconstructed from them." Critic Chris Lanier attributes the protagonist's appeal to
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Look at these powerful black-and-white figures, their features etched in light and shadow. You will be captivated from beginning to end: from the first pictured showing the train plunging through the dense smoke and bearing the hero toward life, to the very last picture showing the skeleton-faced
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after he enters a city. It is by turns comic and tragic: the man is rejected by a prostitute with whom he has fallen in love. He also takes trips to different locales around the world. In the end, the man leaves the city for the woods, raises his arms in praise of nature, and dies. His spirit
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went through multiple printings, and the book was popular throughout Europe, where it sold over 100,000 copies. Soon other publishers also engaged in the publication of wordless novels, though none matched the success of
Masereel's, which Beronä has called "perhaps the most seminal work in the
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While the graphic narrative bears strong similarities to the comics that were proliferating in the early 20th century, Masereel's book emerged from a fine arts environment and was aimed at such an audience. Its influence was felt not in comics but in the worlds of literature, film, music, and
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Laßt seine kräftig schwarz-weißen, licht-und schattenbewegten
Gesichte ablaufen, vom ersten angefangen, vom dem im Qualme schief dahinbrausenden Eisenbahnwagen, der den Helden ins Leben trägt, bis zu dem Sternenbummel eines Entfleischten zu guter Letzt; wo seid ihr? Von welcher allbeliebten
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published one in the 1980s. It has also appeared in many other languages, including
Chinese popular editions in 1933 and 1957. Some editions since 1928 have cut two pages from the book: the 24th, in which the protagonist has sex with a prostitute; and the 149th, in which the protagonist,
462:... des plaisirs et des peines, des malices, facéties, expériences et folies, de la paille et du foin, des figues et du raisin, des fruits verts, des fruits doux, des roses et des gratte-culs, des choses vues, et lues, et sues, et eues, vécues!
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later in 1919. Masereel's work was lauded in the art world in the earlier half of the 20th century, but has since been neglected outside of
Western comics circles, where Masereel's wordless novels are seen as anticipating the development of the
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readers to
Masereel's avoiding a preaching tone in the work; "rather", Lanier states, "he gives us a story as a device through which we can examine ourselves". This openness in the images invites individual interpretation, according to Beronä.
575:... joy and sorrow, spite and good-humor, wisdom and folly, hay and straw, figs and grapes, fruit ripe and unripe, roses and haws — what I have seen, felt and known, owned and lived ... (Katherine Miller translation, 1919)
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In contrast to the works of
Masereel's imitators, the images do not form an unfolding sequence of actions but are rather like individual snapshots of events in the protagonist's life. The book opens with a pair of literary quotations:
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While not as successful at first in the United States, American reviewers recognized
Masereel as father of the wordless novel at least as early as the 1930s. A revival in publishing interest in wordless novels in the 1970s saw
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advertising. Masereel's work was widely recognized with awards and exhibitions in the early 20th century, but has since been mostly forgotten outside of
Western comics circles, where his wordless novels, and
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The German edition was particularly popular, and went through several editions in the 1920s with sales surpassing 100,000 copies. Its success prompted other publishers and artists to produce wordless novels.
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in 1907, Masereel left to study art on his own in Paris. During World War I he volunteered as a translator for the Red Cross in Geneva, drew newspaper political cartoons, and copublished a magazine
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with those from socialist ideology. The book derives some of its visual vocabulary—framing, sequencing, and viewpoints—from silent film. Thomas Mann named the book his favourite film.
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Impressed by the book, German publisher Kurt Wolff arranged for its German publication and continued to publish German editions of
Masereel's books. Wolf's edition of
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mit seinen 167 Holzschintten potentiell alles das, was ich danach geschaffen habe, denn ich habe wo anders und später eine ganze Anzahl von Themen daraus entwickelt.
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Unterhaltung glaubt ihr euch hingenommen, wenn auch auf unvergleichlich innigere und reinere Weise hingenommen, als es euch dort denn doch wohl je zuteil geworden?
91:, and the book went on to sell over 100,000 copies in Europe. Its success encouraged other publishers to print wordless novels, and the genre flourished in the
157:, whose political beliefs left an impression on the young Masereel. He often accompanied his stepfather in socialist demonstrations. After a year at the
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Ich glaube, daĂź darin das
Wesentliche von dem liegt, was ich sagen wollte; ich drückte darin ein wenig meine Philosophie aus, vielleicht enthält
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to Masereel to arrange German publication in 1920. It was printed from the original woodblocks in an edition of 700 copies under the title
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figure among the stars. Has not this passionate journey had an incomparably deeper and purer impact on you than you have ever felt before?
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with its 167 woodcuts contains everything I have created since, because I have developed a number of themes from it in my later work.
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In the early 20th century there was a revival in interest in mediaeval woodcuts, particularly in religious books such as the
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Wordless novel scholar David Beronä saw the work as a catalogue of human activity, and in this regard compared it to
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rises from him, stomps on the heart of his dead body, and waves to the reader as it sets off across the universe.
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released an inexpensive "people's edition" of the book in Germany with an introduction by German novelist
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after publication in a popular edition in the US in 1948. An edition did not see print in England until
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I believe that it contained the essence of what I wanted to say; I expressed my philosophy, and perhaps
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The book won an English-speaking audience after its 1922 US publication under the title
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restored the pages in a 1971 edition, and American editions since then have kept them.
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in an edition of 200 copies. It was printed directly from the original woodblocks.
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Behold! I do not give lectures, or a little charity: When I give, I give myself.
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it expressed themes that were to become universal in the wordless novel genre.
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Transnational Perspectives on Graphic Narratives: Comics at the Crossroads
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saints. In 1918 he created the first such book to feature a narrative,
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The Silent Shout: Frans Masereel, Lynd Ward, and the Novel in Woodcuts
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reproduction. The 1926 edition had an introduction by German writer
1176:"The Graphic Novel and the Age of Transition: A Survey and Analysis"
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Cohen, Martin S. (April 1977). "The Novel in Woodcuts: A Handbook".
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Lanier, Chris (November 1998). "Frans Masereel: A Thousand Words".
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Comics, Manga, and Graphic Novels: A History of Graphic Narratives
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Antonsen, Lasse B. (2004). "Frans Masereel: Passionate Journey".
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Masereel followed the book with dozens of others, beginning with
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The story follows the life of a prototypical early 20th-century
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Beronä, David (2007). "Introduction". In Beronä, David (ed.).
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Beronä, David A. (March 2003). "Wordless Novels in Woodcuts".
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The protagonist finishes with a posthumous walk in the cosmos.
1130:. In Denson, Shane; Meyer, Christina; Stein, Daniel (eds.).
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Frans Masereel: Passionate Journey: A Vision in Woodcuts
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A Companion to the Literature of German Expressionism
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dressed in the same manner as the book's protagonist
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343:Frans Masereel, Interview with Pierre Vorms, 1967
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523:Passionate Journey - Full Text on Archive.org
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1429:The Life and Times of Conrad Black
1229:. Camden House. pp. 111–134.
263:Mein Stundenbuch: 165 Holzschnitte
167:, in which he published his first
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1471:Woodcut novels by Frans Masereel
1216:. Indiana University Libraries.
1174:Tabachnick, Stephen E. (2010).
1098:. Fantagraphics Books: 109–117.
501:the most frequently reprinted.
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1225:. In Donahue, Neil H. (ed.).
1293:25 Images of a Man's Passion
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1369:Prelude to a Million Years
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159:Ghent Academy of Fine Arts
1149:Petersen, Robert (2010).
1128:"Hard-Boiled Silhouettes"
1046:Beronä, David A. (2008).
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129:Masereel depicts himself
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1111:. pp. v–ix.
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816:Willett 1997
799:Willett 2005
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1451:1919 novels
1189:(1): 3–28.
999:Works cited
938:Lanier 1998
926:Beronä 2003
914:Beronä 2003
860:Beronä 2003
831:Beronä 2008
715:Beronä 2003
700:Beronä 2007
655:Beronä 2007
628:Beronä 2007
613:Beronä 2008
598:Beronä 2008
285:Thomas Mann
272:Thomas Mann
268:electrotype
89:Thomas Mann
77:Switzerland
46:of 1919 by
1445:Categories
875:Cohen 1977
848:Cohen 1977
583:References
254:Kurt Wolff
142:Background
85:Kurt Wolff
1348:Gods' Man
1339:Lynd Ward
1328:The City
1314:The Idea
1203:17923122
1157:ABC-CLIO
1039:41826477
1018:27568954
557:German:
493:genre".
467:—
443:—
366:allegory
341:—
282:—
171:prints.
119:everyman
113:Synopsis
56:everyman
42:), is a
1401:Destiny
1383:Vertigo
1307:The Sun
1085:3831165
388:to the
238:⁄
224:⁄
213:woodcut
169:woodcut
101:The Sun
63:woodcut
50:artist
48:Flemish
1393:Others
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542:German
478:, 1919
454:, 1855
392:, and
372:, and
370:satire
131:(left)
36:French
1199:S2CID
1179:(PDF)
1081:JSTOR
1035:JSTOR
1014:JSTOR
529:Notes
256:sent
155:Ghent
1231:ISBN
1161:ISBN
1136:ISBN
1113:ISBN
1058:ISBN
424:Howl
417:and
1191:doi
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