Jean JANSEM (1920-2013)

Lot 5
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Estimation :
10000 - 12000 EUR
Result with fees
Result : 13 180EUR
Jean JANSEM (1920-2013)
Jean JANSEM (1920-2013) The Family Oil on canvas Signed lower left 116 x 89 cm Provenance : Galerie David Et Garnier, Paris Former Collection Étienne, France Bibliography : Will appear in the Critical Catalogue of Jean Jansem's work currently being prepared by the Association des Amis de Jean Jansem. Painting first! This requirement, we find it with the (...) characters and (...) the big compositions. Jansem may have won the Populist Prize, but he does not do populism in the manner of the novelists who, in the wake of Léon Lemonnier and André Thérive, the founders of this movement, a surgeon of naturalism, emphasized above all the social origin of the characters, their environment. It was a question of opposing the literary heroes who, for too long, had represented aristocratic and bourgeois society to any man from the people. One sees the danger of this doctrine for the writers and even more for the painters to give the step to the ideas and to the feelings on the art, that is to say to sacrifice the anecdote. Now, since the victory of the impressionists over the realists and the genre painters of the late nineteenth century, the anecdote was equivalent to the greatest sin for an artist. Some of them, obsessed by the climate of the war years that we have mentioned, have committed miserabilism. And it is, on the other hand, certain that a return to the subject is accomplished today, after so many years of plastic dictatorship. Hence the return to the symbolist painters of the 1880s, to the pre-Raphaelites; and the success of the surrealists and their posterity. A painter who is only an eye, as we used to say about Monet, is not enough to satisfy the need for dreams, for imagination of a public more and more tired of materialism. In this respect, expressionism, rehabilitated in its turn, is better appreciated for its tonic virtues, and also because it arouses in the spectator an emotion which owes nothing to the literal description of a scene, but which is communicated by essentially pictorial means. Jansem's work answers this multiple expectation of our contemporaries. It does not consent to be pure virtuosity but refuses to be strictly realistic. It does not neglect the lessons of abstraction but it has for starting point the daily life. It also leads, we will see it, on the fantastic (...) Jansem is divided between a certain concern and a need for stability. "Life is a certain order. I do not seek happiness. If it happens, it must happen. Maybe I have a fatalistic side. Everything is a cycle in life. It's my oriental side that has to manifest itself in this way."
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