Aug 15, 2016
Michel JOUENNE was born on 25 January 1933 in Boulogne-sur-Seine.
In 1991, he was appointed Official Painter of the Navy.
Prolific artist, painter, but also lithographer, illustrator, and sculptor, Michel Jouenne is part of this nursery of talents from the “Young Painting of the Fifties”. His works illustrate life, the natural beauty of our planet through landscapes filled with color. Each of his paintings reveals the joy of his creation. He amazes with his opaque and translucent materials at the same time, his large watercolor plans, and his luminous shimmers. His talent was rewarded in high places. In 1987, he was made Knight of Cultural and Artistic Merit, then Knight of the Legion of Honor in 1990.
In 1987, he was made Knight of Cultural and Artistic Merit, then Knight of the Legion of Honor in 1990. He also produced several paintings representing views of the Capital: The Eiffel Tower, The Sacré Cœur, The cranes in Paris, or The Grand Palais. He also produced several paintings representing views of the Capital: The Eiffel Tower, The Sacré Cœur, The cranes in Paris, or The Grand Palais.
Hervé Bazin, for whom he made some illustrations in his book “Qui j’ose aime” (published in 1986 by Grasset) said of him: “Jouenne is a cantor of nature… Figurative, he is never a slave to subject he uses…”
Since the start of his career, Michel Jouenne has won fifty medals, including the gold medal for French artists in 1976.
PRICE
1987 – Chevalier du mérite culturel et artistique.
1990 – Chevalier de la Légion d’honneur.
1991 – Peintre officiel de la Marine.ACQUISITIONS
Musée d’art moderne de la ville de Paris. Musée du Petit Palais, Genève. Musée 1’lle-de-France, Fontainebleau. Musée Världen, Suède. Musée des Baux-de-Provence. Musée Nicolas Sursock, Beyrouth. Préfecture de Seine-et-Oise. Préfecture des Yvelines (aquarelle). Préfecture de l’Ardèche. Conseil général des Yvelines. Villes de Paris, Taverny, Mantes-la-Jolie, Versailles, Viroflay, Deuil-la-Barre, Aubenas, Fontenay-aux-Roses, Angers, Mulhouse, Eygalières. Présidence de la République.BIBLIOGRAPHIE
JOUENNE – Collection ” Peintre d’aujourd’hui ” par André Flament (Editions l’Archipel).
JOUENNE – Collection ” L’OEuvre de l’homme du temps ” par Aubert jean (Editions Ventaol).
JOUENNE – Collection ” peintre de notre temps ” par Maguy Furhange.
JOUENNE – Collection ” A la découverte des peintres contemporains ” par René Leroy.
JOUENNE – Collection ” Artspective ” (éditeur dunes et fils).
JOUENNE – Monographie des Editions Aquitaine André Bump.
JOUENNE – Collection ” Le Léopard d’or ” (Edition Guigné). JOUENNE – Collection ” Play-Time ” préface d’Hervé Bazin.
Aug 15, 2016
Gnidzaz is born in 1947 in Toulouse.
Jean-Michel Gnidzaz we especially know bi and three-dimensional abstract compositions that marked his work in the 1990 Making use of collage games and folding single sheets of paper, rigorous geometric arrangements of directly effective color contrasts, the artist then revivifiait kinetics on a tradition unspectacular fashion. Jean-Michel Gnidzaz thus inspired the conceptual essence of the work of Soto rather than their tendency to gigantism, and refused the sanitized accuracy of other painters of the kinetic movement in favor of a personal touch restoring an essential gesture at a certain performativity of painting. Through his research, Jean-Michel Gnidzaz was able to produce a strong work, able to stand out with impertinence of figureheads who staked his training at the School of Fine Arts in Toulouse and the beginnings of his artistic career.
After a decade of reflection devoted to geometric compositions, Jean-Michel Gnidzaz breaks today with the pure abstraction, and a new direction in his work. Since 2003, he initiated a new series of portraits dedicated to the cultural icons of the twentieth century. Struck by the persistence in the collective unconscious of certain images or photographs of major cultural figures of the twentieth century, in particular those facing rebellion synonymous with the established order, Jean-Michel Gnidzaz questions here their iconic status.
Neutralizing the background of the original photograph, recomposing the portrait from two games and trichromatic, flat tints and alternating colored stripes reintroducing some kinetics, he deprives these incunabula of contemporary history of identification too immediate.
So aside for a moment of consensus, respect agreed that their reserves usually these popular idols found some ability to belabor the viewer. The process grows to take a quick historical perspective to evolve our questions: what today would mean the beades, James Dean, or even Coluche in our society; what place they occupy in the minds of future generations; they escape the decorative status to which the commercial exploitation of their image relegated them? No, not yet have the answer, but the work of Jean-Michel Gnidzaz questions wisely.
This new series of portraits, and the flood of questions it raises arise fail as a new milestone in his artistic career and makes us curious to future developments.
Aug 11, 2016
Cintract David was born in 1970.
Halfway between Warhol and Lichtenstein, the artist projects his vision of consumer society on all media : paintings, dolls or mannequins.
While paying tribute to the great artists Pop, David Cintract has stood out thanks to his strong personality, becoming a key figure in the movement that he founded: “The Pop free.”
David Cintract has a fascination for the exuberant sculpture and storage works so “Aladdin’s cave”.
Inspired by current events and social issues, his work carries with it the ambiguity of a quirky, childlike artistic universe, the tinted optimism tragedy.
Gaiety of colors and patterns, sparkle and communicative joy, but also depth of questions and symbols, such is the David Cintract trademark of refusing ease and laying discrete connections between very poetic forces and darker impulses.
Using techniques as diverse as oil, photo, inclusion or digigraphie, it develops on all media (paintings, models, cars …) several themes at the heart of our postmodern society:
-L’homme Face a frantic and frivolous consumption
-The Place of the fantasies and erotic adult games
-The Loss of our part of childhood in a society that no longer believes in dreams
David Cintract sets worldwide and, thanks to its universal artistic language, nourishes deep exchanges with audiences from all backgrounds and all cultures.
Interview by Mr DAVID CINTRACT LIVE:
“My art reigns in me, but does not rule me”
DJ image and matter, David Cintract is defined as a visual artist and existential touch.
Multisensory, it passes with disconcerting ease of traditional painting techniques with modern technologies such as digigraphie, photography, the inclusion of other products / toys …
Through its mannequins that “dandyse” its Mutantoy’s Candy Box and he makes of individuality in the manufactured and deposited his poetry in the series of objects.
Q: “Is being an artist is obvious to you”?
Art and philosophy are to me the best way to aesthetize my existence. With these two means of expression and reflection, I was able to optimize my tragic optimism and reverse the general neuroticism contemporary works. My wish is to deal with company or topical subjects more or less serious, and to attempt a democratic and positive transcription. For me it is a fun way to play with images and frivolous objects that recall childhood with filigree the finding of a report obsession we have with frivolous consumption, fueled by advertising constantly renewed. This work brings me also to wonder if happiness would not exhausted the pleasure of consumption
Jun 4, 2014
François Boucheix was born January 7, 1940 to Montcheneix, a small village at the foot of the Monts d’Auvergne. He began drawing very young. Fatherless at 15, he has to learn a different profession of his artistic aspirations. Malgrè the hard work of the day, he held the evening and part of his nights to paint, and his days of freedom.
At 17, supervisor at Marist in Riom, he as a neighbor room the painter Jean de Rocca Serra, Rome Prize and former professor at the School of Fine Arts in Florence, who taught him the painting for a year.
He made his first exhibition in February 1960 in Tunisia, then in Auvergne province in particular and in the south of France. Four years in Chamonix, where he reads an advertisement in a national newspaper, the gallery seeks Sèvres painters. It responds to the announcement by sending photographs, and shortly after he learns he is retained.
It manifests itself in Paris in 1963 at a major exhibition at the Galerie de Sèvres where he met Bernard Bellaïche. From 1966 to 1972 he regularly exhibits in this gallery notably Lebasque, Othon Friez, Dignimont, Crau Salaboudet Madeleine Luka, Marie Laurencin and the paintings of Salvador Dali and Foujita.
François Boucheix offers a surreal view of the world with total freedom of inventive richness and wonder gift that keeps intact his fidelity to his roots and his land Auvergne. [Not neutral]
Bernard Bellaïche he meets Salvador Dali and that day everything changed. Dali tell him “your painting is good … besides she likes to Gala. ”
This is a result of a famous exhibition at the Sèvres gallery in Paris “Dali to Boucheix” with paintings by Meissonier he decides it will be a surrealist painter of dreams and happiness and not a sad surreal .
He also met with the Sèvres gallery of Yasmine Ouezan, friend of the arts at all Paris of that time, the meeting will pass 30 years of friendship.
Jun 3, 2014
Peter Klasen is born in Lubeck, Germany in 1935.
Lives and works in France.
From 1956 to 1959, Peter Klasen studied at the School of Fine Arts in Berlin. In 1959, winner of the mécennat of German industry, he obtained a scholarship and moved to Paris.
Peter Klasen is in the 60, a founder of the artistic movement called New figuration or narrative figuration. He develops a personal visual language, exploring and reinterpreting the signs of our urban environment, and more generally in our society.
Industrial theme profoundly marked his work. We thus find in the paintings of Peter Klasen, items such as pressure gauges, gear plate public works, metal locks, truck tarpaulins .. Also present logos, numbers and pictures from magazines or posters .
Painter of the urban concrete and metal, Peter Klasen explores the depths and vertigo of a dehumanized society. His works are present in more than 60 museums and public collections worldwide.
His works have been the subject of numerous monographs.
“Painting frees me from my anxieties”
What motivates you to paint ?? An engine that is up and running all alone, like a Volkswagen. Well, it’s not really a good example, right now, with the problems of the brand …
Photography. Photo feeds my future work. I leave my travels and I’m sorting the workshop. From this material, I develop new themes. Photographing the reality is not reduced but the sublime. This is an investigation of reality through the lens. The close-up limits our field of vision and focus our attention.
Language. I developed an antibody language that resists permanent aggression exerted on me the outside world. This is the summary of my life. The strength necessary to meet the individual and collective threat that we face.
Anguish. There is a common thread in all my work: loneliness, anxiety ?; this is what I feel in this society that ultimately makes us sick. This is as a painter, with my images, I try to free myself, to find answers.
Thought. It is three-dimensional: painter, photographer and sculptor. People know the painter and photographer but they often forget the sculptor.
New York. The discovery of a mythical place and the same time the rediscovery of a city that cinema had already perfectly told me.
Walls. The places on the fringes of our cities, underground, scrap, landfill yards, the hidden faces of our industrial world exert a strange fascination for me.
Wife. Always eroticized. It does not escape its reassuring aesthetic that brings us back to life. Through fragments of the female body, I invite the viewer to do the job.
Contemporary art. I think of the greater good, I accompany. This is more exciting than ever. Above the Street Art, a reaction to what the city offers us. Our tables are too small.
If you had not been a painter ?? Musician. My father was a musician in his spare time. He played the violin Brahms, Bach, Mahler …
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