Author: Delphine Jonckheere

In a year marked by the Paris 2024 Olympic Games, the town of L’Isle-Adam, which has been awarded the “Land of Games” label, is standing out with an ambitious cultural initiative: an open-air exhibition dedicated to the works of the artist Dan Jacobson. Organised at the initiative of Agnès Tellier, President of the Tourist Board and Deputy Mayor in charge of Culture and Tourism, the exhibition celebrates the Olympic spirit and showcases the talent of an artist who has captured the essence of the Games.

Dan Jacobson, an artist renowned for his ability to sublimate the region’s landscapes and buildings, presents a series of paintings that reinterpret the iconic sites of Paris and the Olympic venues. These works will be displayed on the balustrades of the Château de Vigny, along the Oise river, at the Jules Dupré rose garden and around the market in L’Isle-Adam, transforming these public spaces into veritable open-air galleries.

Each painting, with its play of light and vibrant palette, manages to breathe new energy into the buildings depicted. The fusion between Parisian architecture and the dynamism of the Olympic Games creates an atmosphere where past and present meet, where the city and the sporting event become one.

The success of this exhibition is measured not only by the number of visitors, but also by the recognition given to Dan Jacobson. At the opening, the artist was presented with the first gold medal of the 2024 Olympics, a symbolic gesture that rewards not only the exceptional quality of his work, but also his generosity. In fact, Jacobson spontaneously offered the rights to his paintings to make this exhibition possible, demonstrating his deep attachment to his region and its people.

Mers-les-Bains : A town that also celebrates Dan Jacobson

The tribute to Dan Jacobson is not limited to L’Isle-Adam. The town of Mers-les-Bains is also celebrating his talent by exhibiting 14 of his works. This recognition positions Jacobson as a key artist on the contemporary art scene, capable of inspiring a wide audience with works that combine beauty, history and modernity.

By associating art with the Olympic spirit, Dan Jacobson has created an exhibition that appeals to everyone, transcending borders and disciplines. This cultural and sporting initiative by L’Isle-Adam demonstrates once again the power of art to bring people together, to celebrate and sublimate the highlights of our shared history. A must-see exhibition and an artist to watch.

For more information about Dan Jacobson ART MAG 19

In 1860, an unexpected event turned the European art world upside down: Japan, after centuries of isolation, opened up to the West. The opening sent shockwaves through French artists, who for almost two millennia had been accustomed to an approach to painting based on shadows, gradations and perspective. By discovering Japanese art, with its simple lines, bright colours and bold use of asymmetry, European painters were confronted with a radically different way of representing the world. This aesthetic shock marked the beginning of a new era in Western art, known as Japonism.

The Franciscan Exhibition in Deauville: an exploration of Japonism

Until 22 September, the Franciscaines in Deauville are presenting an exhibition exploring this cultural encounter and its profound influence on European artists. Among them, Alfred Stevens stands out for his painting La Parisienne en kimono, in which he highlights the exotic beauty of Japanese clothing, reinterpreting a hitherto unknown civilisation through a fantastical prism. Stevens was not alone; other artists, such as Félix Vallotton and Félix Regamey, incorporated the stylistic codes of Ukyio-e into their works, a Japanese art form characterised by simplicity of line, the use of bright colours and an asymmetrical approach to composition.

The impact of Japonism on the perception of space and composition

But Japonism was not limited to a simple fascination with the exotic. It also paved the way for a more profound reflection on the notion of emptiness and fullness in art. Whereas Western tradition favours full, balanced compositions, Japanese art values empty space, a source of imbalance and new harmony. This philosophy is reflected in the works of the European Impressionists, who, inspired by these concepts, explored ethereality and absence in their depictions of nature. Renoir’s painting Sunset, with its search for the evanescent and its emphasis on the sensation of air, is a perfect illustration of this influence.

Japonism and urban representation: from Impressionism to Modernism

This new perception of space also extended to urban representation. The tight, off-centre framing of paintings by Angrand, Marquet and Dufy shows the direct influence of Japanese art on the way European artists captured the bustle of modern cities. Dufy, for example, in Le Bassin du Roy in Le Havre, uses a frontal, tight perspective that disorients the viewer, blurring traditional visual reference points.

Japonism and contemporary art: a lasting influence

The exhibition does not stop at the 19th century, but extends into the contemporary period, highlighting the enduring influence of Japonism. Modern works such as those by Yasumasa Morimura revisit the classics of Western art through the prism of this cultural encounter. In his photograph Une Moderne Olympia, Morimura takes the iconic painting by Édouard Manet and inserts his own male body, reversing gender roles and questioning the way in which the Western gaze has often feminised the Eastern man.

Japonism in European Design and Decorative Arts

The exhibition also explores the impact of Japonism on European design and decorative arts. Japanese influences can be found in everyday objects such as plates, ceramic boxes and armchairs imitating bamboo, testifying to the penetration of this artistic movement into all strata of Western society.

The representation of women and Japonism : a new perspective

Finally, the representation of women in Western and Japanese art is also put into perspective. The striking self-portraits of Mari Katayama, a contemporary Japanese artist, question notions of normality and beauty. By photographing herself in poses reminiscent of the works of the Impressionists, Katayama reinterprets Western aesthetic canons while confronting viewers with contemporary questions about identity and representation.

This exhibition highlights the immense influence of Japonism on Western art, an influence that is not limited to a specific historical period, but continues to resonate in contemporary artistic creation. This encounter between East and West not only transformed the way European artists saw the world, but also enriched their visual language, enabling them to explore new aesthetic and philosophical dimensions. The exhibition invites visitors to revisit this revolutionary period for art, while discovering the modern echoes of this intercultural dialogue.

The world of contemporary art is in mourning. Benjamin Vautier, better known as Ben, died on Wednesday at his home in Saint-Pancrace, near Nice, at the age of 88. His death came just hours after that of his wife, Annie Vautier. According to an official statement from his family, the artist took his own life because he could not imagine life without her.

An instantly recognisable style

Ben was best known for his childlike calligraphy in white letters on a black background. These clear, unique inscriptions had become his signature, an instantly recognisable logo. For over fifty years, words have been at the heart of his work, combining concept and popularity, history and current events.

A rich and varied artistic career

Born in Switzerland on 18 July 1935, Ben began his artistic career in a bookshop and stationery shop in Nice, which his mother had bought to encourage him to find a career. He quickly transformed the shop into an exhibition and meeting place for the young avant-garde artists of Nice. Le Laboratoire 32, which became the Ben Doute de Tout Gallery, became an emblematic space for contemporary art.

In 1975, his work entered the collections of the Musée National d’Art Moderne in Paris, confirming his influence and talent.

Art and life, an inseparable unity

For Ben, art could never be separated from life. His house in Saint-Pancrace, known as ‘Chez Malabar et Cunégonde’, was a place where he lived, created and discussed his art. Filled with works, archives and salvaged objects, it is now the Fondation du doute, a living tribute to Ben’s philosophy of limitless artistic proliferation, where the subsistence economy of salvage and barter replaces the capitalist art market.

A key figure in the Fluxus movement

In the late 1950s, Ben met Arman, Yves Klein and other Nouveau Réalisme artists. These meetings had a profound influence on his work. In 1962 he attended the Festival of Misfits in London, where he met George Maciunas, the founder of the Fluxus movement. The following year, Ben organised a series of Fluxus events in Nice, marking the arrival of the movement in France.

His travels, notably to New York in 1964, strengthened his connection with Fluxus, and he never ceased to carry its message while cultivating his own singularity.

Conceptual and activist art

Ben used simple gestures to create powerful works of art. His calligraphic statements, often provocative and humorous, engage the public in dialogue, provoking reaction and debate. He plays with contradictions, asserting the inseparability of art and life.

His works, whether signed objects or performances, aim to change our perception of the world, not by adding new objects, but by reinterpreting those that already exist.

The legacy of an unforgettable artist

Ben’s death leaves a huge void in the art world. His work, characterised by a relentless search for truth and a constant questioning of the art world, will continue to inspire and provoke. His unique approach, combining simplicity and depth, reached a wide audience and made art accessible to all.

Benjamin Vautier, aka Ben, was more than an artist: he was a philosopher of art, a gentle provocateur and an essential figure in contemporary art. His legacy will live on, reminding us of the importance of innovation, diversity and the integration of art into all aspects of life.

Henri Matisse‘s L’Atelier rouge is a testament to the transformative power of colour and form in modern art. Painted in 1911, it was first known to the world as Panneau rouge (Red Panel), emphasising its departure from traditional easel painting towards a more integrated, decorative approach. This title emphasised the painting’s radical monochrome, focusing on its colouristic boldness rather than its figurative elements – a pioneering move by Matisse that reflected the spirit of early modernism.