History
In 1976, a few months after the publication of Tintin and the Picaros, Hergé told the journalist and author Numa Sadoul that he was contemplating the next adventure of Tintin—setting an entire story in an airport departure lounge. This idea was eventually dropped, and in 1978, he decided to set the story in the world of modern art. During later years Hergé had grown more and more interested in modern art, even attempting it a few times himself as a hobby; so he chose to incorporate his love of avant-garde artwork into the new story. Hergé was inspired by the Fernand Legros and Elmyr de Hory affair, and incorporated a second element, a new age sect and a phoney guru. He planned to cast Rastapopoulos as the villain, but according to Harry Thompson, dropped the idea in 1980 when he introduced the alphabet art element. Still, an idea exists that the villain Ramó Nash or his accomplice Endaddine Akass may be Rastapopoulous in yet another of his disguises.
Read more about this topic: Tintin And Alph-Art
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“In history as in human life, regret does not bring back a lost moment and a thousand years will not recover something lost in a single hour.”
—Stefan Zweig (18811942)
“When we of the so-called better classes are scared as men were never scared in history at material ugliness and hardship; when we put off marriage until our house can be artistic, and quake at the thought of having a child without a bank-account and doomed to manual labor, it is time for thinking men to protest against so unmanly and irreligious a state of opinion.”
—William James (1842–1910)