{"id":4047,"date":"2026-03-28T00:05:57","date_gmt":"2026-03-27T23:05:57","guid":{"rendered":"https:\/\/www.thierry-groensteen.fr\/?p=4047"},"modified":"2026-03-24T07:31:20","modified_gmt":"2026-03-24T06:31:20","slug":"frankenstein-polychrome","status":"publish","type":"post","link":"https:\/\/www.thierry-groensteen.fr\/index.php\/2026\/03\/28\/frankenstein-polychrome\/","title":{"rendered":"Frankenstein polychrome"},"content":{"rendered":"

Les \u00e9ditions Casterman nous proposent une nouvelle version du classique de Mary Shelley, Frankenstein ou le Prom\u00e9th\u00e9e moderne<\/em>, qu\u2019elle publia anonymement en 1818. Maintes fois adapt\u00e9e sous toutes les formes possibles, l\u2019\u0153uvre a \u00e9t\u00e9 \u00e9lev\u00e9e au rang un mythe litt\u00e9raire, et le \u00ab\u00a0monstre \u00bb est devenu une ic\u00f4ne de la culture populaire. Cette nouvelle bande dessin\u00e9e, sign\u00e9e David Sala (Le Joueur d\u2019\u00e9checs<\/em>, Le Poids des h\u00e9ros<\/em>\u2026), s\u2019inscrit dans une longue suite d\u2019incarnations par le dessin \u2013 m\u00eame si c\u2019est celle qu\u2019en proposa le cin\u00e9ma en 1931, sous les traits d\u2019un Boris Karloff maquill\u00e9 par Jack Pierce, qui s\u2019est impos\u00e9e comme r\u00e9f\u00e9rence ultime dans l\u2019imaginaire collectif.<\/p>\n

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C\u2019est du reste cette version cin\u00e9matographique, due au r\u00e9alisateur James Whale (et qui avait \u00e9t\u00e9 pr\u00e9c\u00e9d\u00e9e par des transpositions au th\u00e9\u00e2tre), qui d\u00e9clencha le passage du roman de la sph\u00e8re textuelle \u00e0 la sph\u00e8re iconique. Jean-Paul Gabilliet\u00a0a \u00e9tudi\u00e9 l\u2019ensemble des versions illustr\u00e9es (pas les BD) qui ont paru \u00e0 ce jour, un corpus qui comprend \u00ab trois ouvrages sont publi\u00e9s entre 1932 et 1934 et, apr\u00e8s un demi-si\u00e8cle, sept ouvrages en trente-cinq ans, de 1983 \u00e0 2018. On compte huit \u00e9ditions am\u00e9ricaines et deux \u00e9ditions anglaises, toutes illustr\u00e9es par des hommes : deux artistes anglais (Charles Keeping en 1989, Harry Brockway en 2004), un artiste mexicain (Eko en 2016) et sept Am\u00e9ricains \u00bb, au nombre desquels Lynd Ward et bien s\u00fbr Berni Wrightson, dont la version, \u00e0 laquelle il travailla pendant sept ans, parut en 1983\u00a0; g\u00e9n\u00e9ralement consid\u00e9r\u00e9e comme son chef-d\u2019\u0153uvre, elle a \u00e9t\u00e9 r\u00e9\u00e9dit\u00e9e par Soleil en 2017. [Lire l\u2019article de Gabilliet en ligne\u00a0: https:\/\/revues.u-bordeaux-montaigne.fr\/leaves\/article\/view\/335\/177?customUrl=https%3A%2F%2Frevues.u-bordeaux-montaigne.fr%2Findex.php%2Fleaves%2Fissue%2Fview%2F31&issueTitle=Frankensteins%20interm\u00e9diatiques<\/a>]<\/p>\n

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Le monstre selon Berni Wrightson<\/p><\/div>\n

Si les illustrateurs peuvent se contenter de poser des images sur les \u00ab\u00a0moments cl\u00e9 \u00bb, les sc\u00e8nes \u00ab \u00e0 potentiel visuel \u00bb (Gabilliet), ceux qui ont choisi la voie d\u2019une adaptation en bande dessin\u00e9e sont, en principe, plus contraints de suivre les m\u00e9andres d\u2019un r\u00e9cit \u00e0 la structure complexe, fait de plusieurs narrations ench\u00e2ss\u00e9es les unes dans les autres, et d\u2019en prendre en charge les \u00ab temps faibles \u00bb. Naturellement, certaines adaptations sont plus litt\u00e9rales que d\u2019autres. Je n\u2019entreprendrai pas ici de lecture compar\u00e9e des Frankenstein<\/em> propos\u00e9s par Marion Mousse (Delcourt, 2007-2008, 3 volumes), avec le concours de Marie Galopin pour la couleur, par Georges Bess (Gl\u00e9nat, 2021) et, tout r\u00e9cemment encore, par Michael Walsh (Urban, 2025). La maison Casterman se souvient-elle seulement qu\u2019elle a d\u00e9j\u00e0 publi\u00e9 un impressionnant Frankenstein<\/em> en 2003, une version picturale, expressionniste et elliptique, sign\u00e9e Denis Deprez (auquel on doit aussi un Othello<\/em> et un Moby Dick<\/em>)\u00a0? Gabilliet observait que, parmi les versions illustr\u00e9es, aucune \u00ab ne pr\u00e9sente un monstre ressemblant, sinon de fort loin, \u00e0 la version Karloff-Pierce \u00bb\u00a0; Deprez, lui, y faisait express\u00e9ment r\u00e9f\u00e9rence, mais s\u2019\u00e9loignait de l\u2019esth\u00e9tique du film par son usage radical de la couleur (alors que Bess, comme Wrightson, avaient choisi d\u2019utiliser \u00e0 plein le potentiel dramatique du noir et blanc).<\/p>\n

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David Sala nous donne un Frankenstein <\/em>tr\u00e8s color\u00e9, lui aussi \u2013 on serait presque tent\u00e9 de dire bariol\u00e9<\/em>. Aux antipodes des silhouettes indistinctes de Deprez, il concilie chromatisme accentu\u00e9 et dessin pr\u00e9cis, aux contours et aux plans nettement d\u00e9coup\u00e9s. Sans doute avec l\u2019intention de magnifier ces quelques 200 pages en couleurs directes, Casterman publie l\u2019album dans un format un peu trop grand \u00e0 mon go\u00fbt (d\u2019autant que la plupart des planches comptent tr\u00e8s peu de cases). Les face \u00e0 face entre Victor Frankenstein et son \u00ab monstre \u00bb, qu\u2019il a r\u00e9pudi\u00e9 apr\u00e8s l\u2019avoir con\u00e7u, sont intenses\u00a0; la souffrance de la cr\u00e9ature \u2013 grotesque, terrifiante et path\u00e9tique \u2013 vou\u00e9e \u00e0 la solitude et au bannissement de la soci\u00e9t\u00e9 des hommes, poignante. Mais on ne peut s\u2019emp\u00eacher de regretter un penchant \u00e0 la joliesse, pas vraiment de mise quand on s\u2019attaque \u00e0 un tel drame. Les portraits des diff\u00e9rents protagonistes sont magnifiquement \u00ab sculpt\u00e9s \u00bb mais ils sont peu expressifs\u00a0: fig\u00e9s, ce sont des portraits<\/em>, justement. Et les sc\u00e8nes d\u2019action sont assez maladroitement rendues. Finalement, c\u2019est en illustrateur, plus qu\u2019en auteur de bande dessin\u00e9e, que David Sala est all\u00e9 \u00e0 la rencontre de Mary Shelley.<\/p>\n

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D\u00e9tail de la page 31 – \u00a9 Casterman<\/p><\/div>\n

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D\u00e9tail de la page 117 – \u00a9 Casterman<\/p><\/div>\n

David Sala, Frankenstein<\/em>, Casterman, 217 pages + un cahier de \u00ab\u00a0recherches et esquisses\u00a0\u00bb, 28 \u20ac. ISBN 978-2-203-29271-0<\/p>\n","protected":false},"excerpt":{"rendered":"

Les \u00e9ditions Casterman nous proposent une nouvelle version du classique de Mary Shelley, Frankenstein ou le Prom\u00e9th\u00e9e moderne, qu\u2019elle publia anonymement en 1818. Maintes fois adapt\u00e9e sous toutes les formes possibles, l\u2019\u0153uvre a \u00e9t\u00e9 \u00e9lev\u00e9e au rang un mythe litt\u00e9raire, et le \u00ab\u00a0monstre \u00bb est devenu une ic\u00f4ne de la culture populaire. Cette nouvelle […]<\/p>\n","protected":false},"author":1,"featured_media":4051,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[],"class_list":["post-4047","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mon-blog"],"acf":[],"yoast_head":"\nFrankenstein polychrome - le site de Thierry Groensteen<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.thierry-groensteen.fr\/index.php\/2026\/03\/28\/frankenstein-polychrome\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Frankenstein polychrome - le site de Thierry Groensteen\" \/>\n<meta property=\"og:description\" content=\"Les \u00e9ditions Casterman nous proposent une nouvelle version du classique de Mary Shelley, Frankenstein ou le Prom\u00e9th\u00e9e moderne, qu\u2019elle publia anonymement en 1818. 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