Jean-Pierre Pincemin

His work has become more precise, more peaceful, more classical, each plane carefully balancing the others, setting up subtle tonal relationships

Jean-Pierre Pincemin emerged at a time when French painting was in decline. Previous traditions of painting, embodied by the celebrated École de Paris, had lost its vigour. Meanwhile, on the other side of the world, Pop Art was in full swing. It was in this context that the movement known as Supports/Surfaces was launched, with Pincemin at its helm. A young artist with a new vision, Pincemin aimed to reinvigorate French art, and bring it once again to an international audience. During the mid 70s he was producing the first of his ‘Palissades’ (a French word meaning ‘fence’), utilising large strips of canvas which had been dipped in colour and laid geometrically to form compositions almost architectural in their size and rigidity. By 1980 Pincemin’s approach had changed yet again. His work had become more precise, more peaceful, more classical, each plane carefully balancing the others, setting up subtle tonal relationships. The margin taking on a new importance, holding the composition together, fencing in the three central blocks like a palissade itself, and the resulting sense of depth and of intensity is remarkable.

His work, and specifically its use of tone, is rooted in a noble French tradition that dates back to the works of French masters such as Jean Clouet, Nicolas de Largillière and Charles le Brun. Since his death in 2005, Pincemen’s work has been celebrated in a number of important exhibitions, most notably a large retrospective that toured France in 2010 and revealed an unusually versatile talent.

UNTITLED, 1981

Mixed media on canvas

H 193 x W 170 cm
H 76 x W 67 in.

UNTITLED, HORIZONTAL, 1983

Oil on canvas

H 250 x W 198 cm
H 98,5 x W 78 inches

UNTITLED, VERTICAL, 1983

Mixed media on canvas

H 210 x W 151 cm
H 82,7 x W 59,5 inches

COMPOSITION GEOMETRIQUE, 1981

Oil on canvas

H 127 x W 157 cm
H 50 x W 61,9 inches

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