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Daniel Juré Chien, 2007

$2,594

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The artwork is available for pickup from the gallery in Reviers, France


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Professional art gallery

Reviers, France

Artsper seller since 2019
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About the work
  • Medium

    Sculpture : terracotta

  • Dimensions cm | inch

    21 x 45 x 15.97 cm

  • Display

    The sculpture cannot be displayed outdoors

  • Type

    Unique work

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Hand-signed by artist

  • About the artwork

    Artwork sold in perfect condition

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Origin: France
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Daniel Juré

France Born in: 1957

Daniel Juré, a French artist born in 1957 in Normandy, is a painter, sculptor-ceramist and photographer. Exhibits in France in many museums and abroad. He is represented in public collections.

« Daniel Juré reconstructs a world. Places and beings, though identified, become the object of poetic questioning, question-answer images, image and sign at the same time. Rigour of form, great freedom of framing, far from any system, the artist navigates from near to far. The image goes beyond its format, becomes fragment or how the idea of reality in its loss becomes language. » Katia Boyadjian, Quai des Songes, Editions Cahiers du temps.

« Among the many qualities offered by Daniel Juré's photographs, we are touched by the harmony between the materials of the landscape and a very subtle form of nostalgia that emerges from it. Perhaps it is also his practice of painting that contributes to surpassing and containing, at the same time, a very classical aesthetic. » Farid Abdelouahab, La Normandie des photographes tome2 Éditions des Falaises

« The powdering of the contours under the effect of the light finds here a remarkably concentrated effect, since Daniel Juré relies on the white of the paper to dilute a bistre city background. A curve on the right, black, is enough to support the boundary between the water and the firm shoreline. [...] Now, these trees, which are certainly very typical trees, recognizable even in their variety, if you look closely, are trees of paint. By this I mean that they show the gesture of painting at the same time as they show the tree. What is disturbing is that between the human gesture and the natural fibre, between the human artifice of art and what it suggests of the non-human world of nature, there is, not identity, certainly, but the same way of coming, of being born, of growing. ...] Obviously what fascinates in these paintings is the feeling they give of a nothing that is enough to set everything up. A tree twisted like a signature on the right, another on the left stretched out like a brush, two offset passages in the background to represent walls and minaret, at the foot of the trees a whitewash creates light and shade and in the middle, of black set quickly, a cart, its donkey and its cargo of whisp. It is enviable to appear to say everything in one stroke. ...] It is like when Daniel Juré apparently invents a situation where the effect of the movement of the cart is merged with what could be its load, the donkey and the man being nothing more than a thick, zebra-striped loop; as for the two wheels, they are signs of a wheel. One thinks of the precision of the brushstroke in Zen art, when, from the white - from the void - it gives birth to something. Except that here, there is no traditional representation at the beginning, from which the artist would start or stand out. ...] It is not enough here to speak of economy of means - this is obvious and not insignificant; it is especially important to emphasize the audacity of such elementary drawings that one might no longer be able to see the audacity. » Jean-Philippe Domecq, A l'ombre d'Amon, carnets d'Égypte, Éditions l'Inventaire.

In 1996 Alain Tapié, Chief Curator of the Caen Museum of Fine Arts, chose a painting to present the contemporary aspect of the Painting in Normandy collection in Caen, Deauville and at the Seoul and Pusan museums.

« Hierarchical, as if drawn in fragments from an intimate theatre, Daniel Juré's figures and objects appear in their original form carried by the line, almost calligraphic. » Alain Tapié, Peindre en Normandie, exhibition catalogue of Musée des Beaux-Arts de Caen, Seoul and Pusan.

Daniel Juré produced a work similar to the Carnets d'Égypte in the Cotentin region, and was granted an artist residency on Tatihou Island by the Conseil Général de la Manche. He publishes De flux et de jusant followed by exhibitions in the Manche department and at the Guernsey Museum. A suite of twelve images, photographic poem Dans le voisinage de Saint-Michel-Archange is exhibited at the Musée de Vains. For the first time he unveils his silver images.

This is followed by a photographic work on the port of Caen Quai des Songes presented at the Museum of Normandy, then a Journey to Armenia, photography, painting and poetry presented at the Museum of Fine Arts in Caen as part of the Year of Armenia in France.

At the same time and during four years, he undertakes with Katia Boyadjian a long series of portraits in old people's homes in the Normandy region. Chronic Portraits, a reflection on the notion of portraiture today, on old age and death, the ultimate experience that the Musée des beaux-arts de Caen traces in a major exhibition. "The calls of life arise, without the painter being able to expect them, from fixed postures as if from the history of each person and his long life sprang up in fragments, in moments, from confused intentions and reactions, quickly caught up in the attentive and anxious quest of the mirror that scrutinizes them. As we are far from imitation and close to a buried reality that only painting is still able to reach even if it humbly slips into the uncertain rhythms of colours and gestures, without trying to assert itself as an aesthetic project. ...] This is why, in front of this ensemble, thanks to the unity of the pose, our gaze escapes the voyeurism of the human condition. Through the colour, always strident, different, disturbing, a unity of field is affirmed which sends each figure back to painting for what it is. Of course, these anatomical or chromatic audacities could find a place of choice, if a critic wanted to get attached to them, on the side of the Anglo-Saxon culture of the portrait. For the moment, the essential thing is to have found in these finite worlds, humble and powerful, that the reality captured by photography is an illusion, whereas the illusion of painting is indeed a reality. "Alain Tapié, Portraits chroniques, catalogue Musée des Beaux-Arts de Caen

From 2006 to 2008, he spent two years working with contemporary writers and poets to paint their portraits in a single sitting. From the plains of Picardy in Savoyard country, from the Trégor in the Ile de France, he leads his "travelling workshop" to the places where his models write. 32 portraits of famous writers, a new Séance tenante collection that will be exhibited at the Musée des Beaux-Arts in Caen in 2011.

« Daniel Juré has decided not to go beyond the limits of representation. He produces something identifiable - every shape and colour of which astonishes us. So we did not yet know these beings, animals, places of our everyday life? There was still an elusive part in them that he himself approaches, for what it is worth, by letting it be assumed rather than by adjuting it? For a moment I thought of the word « courage », too well thought-out, all things considered, when it is audacity and recklessness that prevail. « audacities fortuna juvat, » said a verse by Virgil...[…] 

The essential remains - which is not the one we expected. Juror brings out a new essential from these dead fish, from these dorados in head-to-toe, especially from this pitcher whose blue differed from itself shines like a proof of existence, like that of Yves Klein or the green Veronese. Let us examine its colour for a longer period of time, and soon we will return the radiance that emanates from it to the sole happiness of its existence (more troubling than bliss). [...] One aspect of the visible stands, just as proof. From observer and witness, Daniel Juré has become the one who disposes of - and thus makes available to us just as much in terms of the multiple of appearances, the very elusive yet namable identity, the foreseen angle that is authentic, the votive color. » Jean-Luc Steinmetz, Silence reigning catalogue, Château de Reviers 2009

Whether painting, writing or photography, Daniel Juré seeks to restore the material in its very essence and the only link between the various disciplines is a formal coherence.

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  • Discover more by the artist

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Daniel Juré, Chien
Daniel Juré, Chien Daniel Juré, Chien