It is with deep pain and a lot of sorrow that we announce the untimely death of our very dear Fabien Jacquet. Fabien was the official expert on the works of his uncle, Alain Jacquet. He was the main initiator and the largest contributor to the creation of the catalog raisonné.
✴︎ ℜ𝔢𝔰𝔱 𝔦𝔫 𝔓𝔢𝔞𝔠𝔢 𝔉𝔞𝔟𝔦𝔢𝔫 ✴︎
The Comity Alain Jacquet will be observing a short period of transition.
For all inquiries, please contact Sophie Matisse and Gaïa Jacquet-Matisse at our new adresse; firstname.lastname@example.org
Record Breaking Sale at PIASA
On October 23rd, The Piasa auction house is offering fifty-one works Alain Jacquet, from the collection of Geneva merchant Daniel Varenne, who died in 2018.
“A major French artist, Alain Jacquet is difficult to classify, as Catherine Millet, one of his main exegetes, has pointed out.3 Lying between Pop art and conceptual art, he has given painting a new lease of life. the era of mechanical reproduction. Thanks to the diversity of techniques and supports used, by his scholarly, humorous or frivolous references to the history of art, Jacquet had fun making the invisible visible and vice versa. The images he gives us, polysemous, require a permanent visual and intellectual development following a process perfectly described by Guy Scarpetta: the image in Jacquet “is only the temporary stopping point of a double process: from the spectator to figuration (or to its passing out); and figuration towards its degree of definition at the end of which the artist decided to freeze its consistency “4.”
Excerpt from Piasa Catalogue.
Almost every work sold for a record amount in a private sale, overall making this one of the most successful sales of Alain Jacquet. Jacquet’s Camouflage Michel Ange, Chapelle Sixtine, la tentation d’Eve, 1962-63 sold for 30,000 shy of half a million, 466,100 Euros. Long overdue, Alain Jacquet is finally beginning to reclaim his rightful place in the history of art, as one of the pioneers of Pop Art in France, and Nouvelle Realisme.
Click Here for Digital Catalogue
Click Here for Le Monde Article
Alain Jacquet Exhibits at Laurent Strouk
While the Museum of Modern Art of the City of Paris used the Déjeuner sur l’herbe for its institutional reopening campaign, here is the gallery Laurent Strouk devotes a month of show to Alain Jacquet.
The exhibition will present major works from the artist’s Mec’Art period from October 18 to November 16, 2019.
2 Avenue Matignon
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Jacquet to Represent the MAM of the City of Paris
The Museum of Modern Art of the City of Paris choses the work of Alain Jacquet for their Institutional campaign
Alain Jacquet’s Déjeuner sur l’Herbe (1964, AMVP: 2685) will be reproduced on the major institutional campaign of the Museum of Modern Art which will be deployed in October on the occasion of the new hanging and opening of the Collection.
The communication campaign will be deployed with RATP in the metro (corridors and 4×3 format), from 8 to 15 October. There will also be a sidewall bus campaign from October 4 to 10, 2019.
The opening of La Vie Moderne, a new journey in the collections, will take place on October 11, 2019 from 6 p.m. We can logically admire the Déjeuner sur l’Herbe from the museum’s collection…
EXPO CHICAGO 2019
Expo Chicago 2019 Hervé Bize Gallery, September 19-22, 2019
The Hervé Bize gallery is pleased to participate in Expo Chicago for the first time (stand 112) with a solo presentation dedicated to Alain Jacquet (Paris, 1939 – New York, 2008).
This project was conceived as the second part of the solo stand that we presented last March at Independent New York. Alain Jacquet’s work is deeply linked to the American art scene and attracted audiences to the United States early on, notably through a solo exhibition in Chicago in 1968 at the Museum of Contemporary Art.
Alain Jacquet moved to New York for the first time in 1964, at the same time as he opened his first solo exhibition there at the Alexandre Iolas gallery. He was only 25 years old. Jacquet can therefore be considered a pioneer in the use of innovative materials on very large formats with particular precocity. At the very beginning of the 1960s, he began working on his famous Camouflages (1961-1964), confronting popular images and museum icons before one of his masterpieces, Le Déjeuner sur l’herbe (1964 ), using a screen printing process which he had introduced, a mechanical style (Mec’art, to use the expression of the famous art critic Pierre Restany). The image processing, which Jacquet produces, makes him close to Martial Raysse – for the French part – and American artists like Andy Warhol or Roy Lichtenstein. His work, which quickly evolves into complex works developing polysemic proposals and international consideration, has been included in two major European exhibitions, Documenta IV, Kassel (1968) and the mythical exhibition organized by Harald Szeemann, When attitudes become forms à la Kunsthalle Bern (1969).
Our stand for Expo Chicago exclusively brings together a selection of significant pieces from the 1960s, in particular two emblematic works: Déjeuner sur L’Herbe and Portrait d’Homme, both dated 1964.
A Déjeuner sur l’herbe at the Museum of Fine Arts in Caen
XXL Contemporary monumental prints: the National Library lent its Déjeuner sur l’herbe on paper. The exhibition took place at the Museum of Fine Arts in Caen from May 25 to September 15, 2019
The Caen Museum of Fine Arts has chosen to explore the world of contemporary printmaking, focusing in particular on the most spectacular and heterodox productions. Five hundred years after Albrecht Dürer, whose monumental Arc de triomphe by Maximilien I assembled no less than 36 printed sheets, artists are more than ever in favor of the large format, the print having long been no longer an instrument for the dissemination of image but indeed a field of experimentation and a means of making work.
Exceeding the rules of joint publishing leads to seizing all techniques without a priori, from the most traditional (metal and wood engraving, lithography, serigraphy…) to the most innovative (photogravure, digital print, wall paper…) , to play with the limits of the print (gigantism, support other than paper, seriality, collage …), to finally question the modes of representation like the systems of making images.
Many major players in the art of the past fifty years have taken up this intellectual, visual, technical and economic challenge, including Pierre Alechinsky, Georg Baselitz, Christiane Baumgartner, Pierre Buraglio, Daniel Buren, Gunter Damisch, Jim Dine , Franz Gertsch, David Hockney, Alain Jacquet, Frédérique Loutz, Julie Mehretu, Richard Serra, Jose Maria Sicilia, Frank Stella, Antoni Tàpies, Djamel Tatah… and many others present in the exhibition
Alain Jacquet exhibits in New York with the Hervé Bize gallery
05.03.2019 • New York
INDEPENDENT NEW YORK, MARCH 7-10, 2019
NEW ERA ALAIN JACQUET NEW YORK PAINTINGS 1961-1986
Hervé Bize is pleased to announce his third participation in Independent New York in order to celebrate the 10 years of the fair at the same time as we will celebrate the 30 years of the gallery, with a project entitled New Era, Alain Jacquet, New York paintings 1981-1986.
Why use the term New Era when these are works executed by Alain Jacquet in the early eighties?
The postulate of this project is that part of Jacquet’s approach, too hastily circumscribed around his connections with the Pop movement and The New Realists, could not be considered because of the avant-garde of some of the discussed subjects. This message is not without finding a certain resonance today as the subjects are topical and our project until its realization – the artist having lived and worked not far from the building where the fair is held – joins the convictions from the gallery.
Following the dissemination by NASA of an image of our planet, as it first appeared to Apollo astronauts, Earth had become a real obsession for Alain Jacquet. Did he have a premonition that this was going to be a most important issue at the start of the 21st century? How, indeed, not to see in the use of this image which amazed him, that this one should lead to humility and encourage us to change our gaze on our Mother Earth, Gaïa.
Like a pathfinder of knowledge, his study of myths and religions, as well as his insatiable quest for meaning, are at the origin of these works with drawers, true visions of the original Mother Earth / Woman , receptacle in the same way as the Grail of humanity, kinds of matriarchal prophecies, which, more than ever today, ring true by their way of evoking a reappropriation of the body, the awareness of the acts linked to it and therefore to the Environment.
Some will see only scattered parts of the body, some may find them obscene but others, conversely, will dive into the well in order to meet themselves.
Sexuality, which is also present in these works, defines us and to dare to look at it is to dare to look at yourself because it is, by its creative energy, the source of all things. Beyond the message of these works which implies that feminine and masculine polarities, regardless of gender since they are present in everything, must reunite in consciousness to lead to saving equality, the art of Alain Jacquet us gives the possibility, at the same time of trying to understand us, to understand the World and by this, in a question oh so current, to have hope to preserve it.
For further information and press requests, please contact the gallery by e-mail email@example.com