Jean-Pierre Pincemin

France

Rennes 

Galerie Oniris - Florent Paumelle

Drawing

Sans titre (A75)

Sans titre (C75)

Sans titre (F94)

Sans titre (B75)

Sans titre (C94)

Philippe Cognée

Painting

Paysage urbain

Foule

Sans titre (A01)

Sans titre (foule 15B)

Sans titre (Vanité I) 

Sans titre (Foule 07A)

Sans titre (Vanité H)

Amaryllis (A20)

Amaryllis (B20)

Paysage fracturé

Chateaux de sable

Autoportrait

Untitled (Foule A20)

Sans titre (E94)

The exhibition "Correspondances" brings together Philippe Cognée and Jean-Pierre Pincemin around their paintings on paper, from September 25 to November 7, 2020.

Both professors at the Ecole des Beaux-Arts d'Angers in the early 90s, the two painters exchanged at length on their artistic practice with a mutual respect for each other's work. For the first time, these two artists are the subject of a joint exhibition. This event is also the first major event in Rennes around the work of Jean-Pierre Pincemin since his death in 2005. The Oniris gallery is happy and proud to bring together these two highly talented artists.

For both Cognée and Pincemin, paper is a medium very often used and allows to explore different techniques: Indian ink, encaustic, watercolor, charcoal, pigment, collage.

They both draw inspiration from different registers, both figurative and abstract. For each one, this practice of painting on paper which does not subtract itself from that of works on canvas.

The exhibition presents recent works by Philippe Cognée around emblematic series such as Crowds, Landscapes, Faded Amaryllis or Urban Landscapes treated with watercolor, encaustic on paper or even pigments on photo paper.

The works of Jean-Pierre Pincemin, who died in 2005, are rare and precious. The selection revolves around three families of works: the "Canti", abstract paintings made by the artist on selected pages of a book by Louis Dalla Fior in 1975, pieces from the "Trees" series of 1992 and large ink drawings enhanced by the series "Young Girl and Death" which Pincemin explains :

The Louvre being the most erotic place I know, I thought I had to make a lady. I had in my memory Picasso's engraving "Lady looking at a surrealist object". By inverting we have a lady being looked at by a man and a donkey, it was meant to be comical, to produce good humor. But all this is terribly sexual, it became annoying, the Louvre would not have accepted it. So I transformed the men and the donkeys into skeletons. As a result, it became something completely different, not La Jeune Fille et la mort, but "the young girl being troussed by a skeleton," which is even worse. Later, I found an engraving by Dürer on the theme of the lady being ridden by a man on horseback... This is where the word unconsciously means something. These comico-erotic works, light, allowed me to advance in the question of figuration the passage to a more narrative painting. (JP Pincemin)

Correspon-dances

Correspon-dances

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