Sachgebiete

Beschreibung:

123 S.

Bemerkung:

Sehr gutes Ex. - Beilage. - Englisch; französisch. - Alain Georges Frank Jacquet (* 22. Februar 1939 in Neuilly-sur-Seine, Frankreich; ? 4. September 2008 in New York City, USA) war ein französischer Maler und Grafiker und wichtiger Vertreter der US-amerikanischen Pop-Art-Bewegung. ... Alain Jacquet studierte Architektur an der Universität Grenoble und an der École des Beaux-Arts in Paris. Als Maler war er ein Autodidakt. Er hatte seine erste Einzelausstellung 1961 in der Galerie Breteau in Paris. Im Jahr 1961 nahm ar an der Biennale de Paris teil, auch wieder im Jahr 1965, wo er auch auf der Biennale von San Marino vertreten war. Im Jahr 1968 war er mit 10 grafischen Pop-Art-Arbeiten Teilnehmer der 4. documenta in Kassel. Er war Anfang der 1960er Jahre Mitbegründer der Kunstrichtung Mec'art (Mechanical art). Jacquet lebte in New York City und Paris und lehrte an der École Nationale Supérieure des Arts Décoratifs. ... (wiki) // In the eyes of several generations of critics and art lovers, the importance of Alain Jacquet's work in the history of recent art is beyond doubt, and it should not be long before it impresses itself on a wider public by virtue of its acute relation to its period and, at the same time, its perfect singularity. Ten years younger than Andy Warhol, Jacquet was a contemporary both of the American Pop artists (he began transferring photographs onto canvas using the silkscreen method in 1964) and of the artists of the anti-form and conceptual movements (he was the only Frenchman invited by Harald Szeemann to exhibit in When Attitudes Become Form, in 1969). A pioneer of new supports and technologies (Plexiglas, vinyl, digital images and inkjet printing), he was also a precursor of the Simulationists: he "remade" Roy Lichtenstein's Hot Dog (1963) only a few months after the original itself, and used the silkscreen process to disguise sheets of Plexiglas as corrugated iron and cotton bags as jute bags (1968). Finally, before the practice became common, he created event-based or site-specific works (exhibition of the electrical circuitry at Galerie Yvon Lambert in 1968, smoke in 1969), environments {Cylindres, 1961, Fresque tolas, 1963 [pp. 10-15, 22-23, 70-76]), and installations {The Churn, Venice Biennale, 1976). To which we must add his strange revisiting of an ancestral practice such as knitting (Le Tricot de Varsovie, 1969) and very personal take on the assisted readymade, as Marcel Duchamp called it, with Watering can (1972) and Saint-Jean-Baptiste (1981). That said, I do get a bit annoyed when I hear people refer to him as a "French Pop artist." His work is so diverse and complex, and has so many more ramifications of meaning than Pop produces, let alone the Simulationists or the hi-tech artists. For example, in his early days, Jacquet's source in popular culture was not comics, but images d'Epinal, those popular woodblocks that were the forerunners of cartoons. These carry a whole weight of historical references and their titles, as repeated by Jacquet, give them a poetic, ironic dimension. Moreover, far from just formally simplifying, Jacquet transformed these images into enigmatic puzzles that we are still unpicking today. Unlike many artists of the period, he did not yield to the seduction of images, but dislocated this in an explosion of colours. Compare Warhol's Do It Yourself series (1962) with Jacquet's Camouflages (1963), both made using painting by numbers books. The colours that Warhol distributes in the numbered areas preserve the forms and codes of naturalism: the petals of the flowers are pink or yellow, the stems and the leaves, green. In the classical manner, Warhol applies the local colour, whereas with his French counterpart the colour overruns or divides the drawing, weaving a tangle of abstract forms over the figurative image, forcing the viewer to struggle, in a sense, with their own gaze: will it judge the harmonious distribution of colours ? (Vorwort) ISBN 9782954287126