Néron – Nero Mural

Nestled in the heart of Brussels, the Néron – Nero Mural bursts with color and characters. It’s a vibrant tribute to one of Belgium’s most beloved comic strips. The mural explodes onto the wall in Place Saint-Géry, showcasing Nero, the star of the show. He perches atop a pyramid, two parsley leaves tucked behind his ear like a whimsical laurel wreath. These leaves are a playful nod to a time when Nero believed he was the Roman Emperor himself. The mural captures the essence of the comic strip. It’s a chaotic yet endearing scene filled with familiar faces. Madame Pheip appears without her trademark pipe, perched on the shoulders of Monsieur Pheip, the French-speaking mayor of Nero’s Flemish village. Jan Spier, the muscleman of the group, holds them all aloft with impressive strength. Petoetje and Petatje, the adopted children of the Pheips, cluster on the left. Nero’s brilliant son, Adhemar, observes the scene with an air of quiet contemplation. Even Detective Van Zwam makes an appearance, diligently searching for clues in the background. Nero, seated on a tree branch, gazes in wonder at a quartet of small birds. This detail reflects the passion of Nero’s creator, Marc Sleen, for the animal world. Sleen, whose real name was Marcel Neels, frequently traveled to Africa, a continent often caricatured in his work. Created in 1947 for the Flemish newspaper “De Nieuwe Gids,” Nero embodies the quintessential Belgian. The comic strip is known for its burlesque humor, absurd situations, and a cast of fantastical characters. Sleen himself described Nero as “burlesque and absurd.” The strip’s success stemmed from its timely references and parodies of famous international figures, from Margaret Thatcher and Fidel Castro to Joseph Stalin and Saddam Hussein, and even The Beatles. Aimed at adults, Nero’s adventures mirrored the realities of post-war Belgium with a satirical twist. However, the comic strip wasn’t without its controversies. In the 1970s, some critics pointed out sexist stereotypes within the series. Nero often lounges in front of the television, leaving his wife to handle the household chores. Notably, she is absent from the mural, unlike Madame Pheip, a strong woman who dominates her husband. When questioned about these portrayals, Sleen admitted in the 1970s that he preferred women to stay at home. Even in 2012, he stood by his views, stating, “Sorry if I’m wrong, but I still think so…The role of a woman is beautiful as a mother, but now they want to earn more than their husband and hire a nanny.” The comic strip also faced criticism for racist depictions. This includes the Pheips’ adopted son being called “Petoetje,” the caricatured portrayal of black characters, and the representation of Arab women as “freeloaders” of social services and healthcare. Sleen’s response to these criticisms was, “At that time [until 2002], everything was criticized. We weren’t allowed to make jokes about blacks or priests, and in the end, I wasn’t even allowed to joke about Arabs, Walloons, and certainly not about Flemings…” By the time of this 2012 interview, the Nero series had already ceased publication for 10 years. Despite these controversies, the Néron – Nero Mural stands as a testament to the comic strip’s enduring popularity and its reflection of Belgian culture and history. The mural invites us to remember a time when political satire and fantastical adventures mingled on the pages of a newspaper, bringing laughter and commentary into Belgian homes.