Daniel Goossens

Daniel Goossens’s comic strips are the sort you never tire of reading, both for his mastery of an absurd universe conveyed through deceptively simple lines and for his use of numerous references and details that often escape the reader on a first reading. An heir to Gotlib and Monty Python, he possesses a sarcastic tone enhanced by a unique artistic style. 

To ensure that your pages are kept in good condition, we recommend that you never expose them to direct light, as UV rays can damage the media used to produce them. Although Indian ink is a perennial material, the paper support may change when exposed to UV light. Note that watercolor plates require special attention, as this medium is particularly sensitive to light. Pieces containing pastel or charcoal require special care to avoid rubbing.
We advise you to display them away from windows, and to use frames made of pH-neutral conservation materials and “Museum” glass with anti-UV and anti-reflective treatment. If you prefer to keep your works unframed, we recommend storing them flat, in drawing cartons, with sheets of pH-neutral permanent paper in between. Keep them away from light and humidity

Born in 1954, Daniel Goossens was spotted by Gotlib early on in his career at Pilote before joining Fluide Glacial in 1977. There he published a number of major works, including Georges & Louis, L’Encyclopédie des bébés, La Vie d’Einstein and La Porte de l’Univers. His absurd and erudite humour, drawing on science, history, literature and cinema, has made him a key figure in the world of comic art. Recognised by critics and his peers alike, he was awarded the Grand Prix at the Angoulême International Comics Festival in 1997. Alongside his work as an author, he is a computer science specialist and a lecturer and researcher in artificial intelligence. Over a career spanning more than forty years, Daniel Goossens has established himself as one of the great masters of the Ninth Art. Complete biography