Introduction
letter
by Osman Atabek, physicist,
Research Director at CNRS
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As the celebrated
French portraitist Mac'Avoy eloquently pointed out at the occasion
of her first solo exhibition at 1969, Françoise Garret’s painting
is but a subtle bridge between classicism and modernism, borrowing
from the former her rigor in the drawing and the construction,
and, from the later, her dramatically rich firework of colours.
Her
creativity is inspired from a wide variety of themes, ranging
from portraits of live models, to the ones of large cities or
big industrial firms; from sport activities and humans
or animals in motion, to the capture of the very concept of
kinematics and dynamics itself; to end up into signs
of life, signs of light, like algebraic symbols concentrating
and summarizing in their aesthetic mystery, her deep intellectual
and artistic quest. To further express this creativity, she
refers altogether to traditional techniques (oil, water-colour,
acrylic, charcoal on canvas or wood) but also to modern ones
(multimedia systems, light boxes).
Numerous prestigious
prizes and awards
Othon Friesz
Prize, Grand Prix de Peinture
de la Seine, Coopération Prize, Tech-Image Prize, to cite a
few) highlight the world wide recognition of her achievements.
Yet another witness of this recognition is her recent nomination,
by the American Biographical Institute, as one of the most outstanding
women for the year 2006.
Quoting
once more Mac Avoy, this very strong painting work nicely contrasts
with the physical appearance of the artist: a slim, blonde lady…
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English CV |
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Education and professional
training |
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• Bachelor
of Arts, University of Paris-Sorbonne (1967)
• Workshops with French professional painters: Charpentier and Jullian
Academies (1962-64) with Claude Schurr as supervisor; Studio Mac'Avoy
(1967-69).
• Advanced level training and improvement near celebrated artists: Bazaine, Brayer, Chapelain-Midy, Charlot, O. Debré, Lapicque, Limouse
and Piaubert |
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Major artistic achievements |
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• Lectures
on contemporary art, painting courses and art holidays
• Exhibition Commissary
(Man Ray Cinéma at the American Film
Festival, at Deauville, L’Art et la Lumière at Paris XII
District town-hall…)
• Commissioned studio work on portraits and live models
(F. Arthaud,
G. d’Aboville, G. Brassens, César, Man Ray, J. Chirac, Mme Barre,
Mme Stirn, E. Frédéric-Dupont).
landscapes, marine landscapes,
sport, mural paintings, light boxes.
• Huge size portrait of King Louis XIV riding his horse, in front
of Louis-le-Grand Lyceum, Paris (from 1995 to 1998),
commissioned
by CBC Ile de France
• Solo and group exhibitions in various fairs on Contemporary Art
in France and abroad.
• Work with big firms (Banks, EDF, La Poste) within the frame of Patronage
and Communication. |
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Special projects |
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• Research
on a synthesis between painting and architecture (Trio), science
(La Ronde des Photons), economy (Temps Forts)
• Research work in advanced painting technologies and multimedia
systems
• Portraits framed in light boxes
• Research on a new concept : Portraits of Business Concerns
• Huge size mural paintings and monumental art and sculptures. |
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Prizes and distinctions |
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•
2006 -
Nomination as "one of the most outstanding women for the year
2006"
by the "American Biographical Institute
U.S.A." ( ABI )
• 2006 - Nomination
by the "International Biographical Center"
Cambridge-England ( IBC )
• Othon Friesz Prize
(1971), awarded by a jury with Maximilien Gauthier as chairman
(Othon Friesz)
• Grand Prix de Peinture de la Seine (1967), oil on canvas purchased
by Conflans-Ste Honorine Museum
• Various distinctions and prizes at several Salons du Grand
Palais des Champs-Elysées,
among which the Coopération Prize
awarded by the International Society of Fine Arts (1973)
and the
Tech-Image Prize for new technologies (1990)
• President and founder member of Salon des Peintres et Sculpteurs
of the 12th District of Paris
(1971-2000)
• Silver Medal of the City of Paris (1980)
• Vermeil Medal of
Société Arts, Sciences et Lettres (1996)
• Full member of Paris Fall Fair (since
1969) and of Grands Salons Parisiens. |
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Selected solo exhibitions |
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• More than
50 exhibitions among which are :
- Galerie André Weil, Avenue
Matignon at Paris (1969) first solo exhibition
- Jeunes à l’Orangerie
du Luxembourg
(1971) first selection of Salon d’Automne
- Le Signe et la
Vie, at Orangerie
du Sénat (1978), 60 paintings
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Portraits,
at Paris 7th District town-hall (1980)
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Personimages,
at Paris 7th District town-hall (1987)
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Au Triple Galop,
Jacobins Museum at Toulouse (1988), 60 paintings, invited artist within
the frame of F.A.U.S.T
- Retrospective
Espace Michel Simon,
at Noisy-le-Grand (1993), 65 paintings
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Lumière et Créations,
at the Ministry of Finance (1996)
- Racecourse of
Paris-Vincennes
(2007)
"Le voyage de lumière"
special exhibitions during :
"Prix
de Belgique", "Prix d'Amérique",
"Prix de Paris", "Prix de France", "Prix de l'Union Européenne". |
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• More than
30 exhibitions under the patronage of French big firms:
- Banque La
Bred
(from 1985 to 1992, with two large scale oil on canvas purchased;
La Méditation 3m x 2m and Au Triple Galop
162cm x 114cm)
- EDF-GDF (from 1988 to 1990, with two purchased portraits: Portrait
de Paris and Portrait of Georges Brassens),
- La Poste (1990)
- Fiat France (1991, with a computer image La Vogalonga à Venise,
purchased),
- Mairie de Paris (Paris Town-hall 1984-1999),
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Selected group exhibitions |
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• More than 60 participations among which are :
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Important Paris Fairs (Automne, Comparaisons, Nationale des Beaux-Arts,
de la Marine),
- Palais de la Découverte (1972),
- Théâtre de l’Odéon (1973-76),
- Théâtre des Champs-Elysées (1978),
- Draguignan Museum (1985),
- Salon Art du Nu, at Espace Champerret, Paris (2005),
- A
Fleur de Peau, at Espace Art et Liberté, Charenton-le-Pont
(2006);
- 2010
: Agora Gallery—Chelsea-- New-York (June) |
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Several exhibitions abroad |
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(Japan, Canada, United States, Germany, Poland,
Switzerland, South Korea, Iran at the First International Art
Fair,
with a - special personal presentation to the Shah, 1974). |
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Préface du Maître Mac'Avoy
-
première exposition personnelle de Françoise Garret à la Galerie André
Weil, Paris (1969)
MAC AVOY, Président du Salon d'Automne et portraitiste
des Grands Contemporains (Picasso, Jean XXIII, Montherlant, Gide)
« Un jour il y aura la réconciliation. On s'apercevra
que les frères n'étaient pas ennemis, que les antagonismes étaient de faux antagonismes,
et notre époque déchirée apparaîtra à la postérité, une et harmonieuse. Nos querelles
esthétiques d'aujourd'hui paraîtront aussi vaines que nous parait vaine la vide
et fameuse querelle des Anciens et des Modernes.
Garret est dans la bonne voie: ses recherches
tendent à trouver un langage que comprennent ceux qui s'estiment des étrangers;
à établir un vocabulaire plastique commun aux deux camps. Je suis convaincu que
là est la tâche des jeunes peintres. D'abord déconcertés par les apparences, ne
sachant qui croire, ils se ressaisissent. Garret prend sa place parmi ceux qui
ont gardé la tête sur les épaules, qui ne se sont pas laissés berner, qui admirent
où il faut admirer, qui ont une culture, qui ont aimé Braque, fort bien compris
Manessier, Bazaine, Vasarely, aussi bien que Picasso, Chagall, ou Gromaire, qui
maintenant pensent la peinture, l'assument, et ont pour mission de la refaire
une fois de plus.
Peintre d'abord, peintre né, Garret organise
ses dons, et ses larges surfaces de couleurs qui ont l'éclat du vitrail, sont
serties de volonté, comme les morceaux de verre sont sertis par le plomb. Le prétexte:
son sujet; et la réalité: la nature, sont entraînés, formes et rythmes, paraissent
et disparaissent, au gré du peintre, se soumettent à la réalité peinture, à l'ordre
imposé.
Le dessin, impérieux, sans fioritures, sans
grâces idiotes, lui aussi obéit à la dictée intérieure. C'est le meilleur dessin
qui soit. Oui, Garret possède la solide constitution mentale, les dons robustes,
la sensibilité dominée, la force que rien ne déroute, le souffle, l'endurance,
qui seront nécessaires aux peintres de demain. Je mise sur son grand avenir.
Au physique? Je vous le donne en mille, et soudain,
me décide à trahir:
Garret est une mince, une frêle, une blonde,
blonde jeune-fille. »
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