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Autoportrait,
2008
Jean Le Gac
Print : Screen Print
75 x 50 x 0.2 cm 29.5 x 19.7 x 0.1 inch
€700
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About the artwork
Type
Numbered and limited to 60 copies
1 copy available
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
75 x 50 x 0.2 cm 29.5 x 19.7 x 0.1 inch Height x Width x Depth
Support
Framing
Frame with glass
Artwork dimensions including frame
76.5 x 51 x 3 cm 30.1 x 20.1 x 1.2 inch
Artwork sold in perfect condition
Artwork location: France
Signed lower right. Numbered 32/60 lower left.
Provenance: Besançon Art Library.
Read more
Provenance: Besançon Art Library.
About the seller
Area corp • France
Artsper seller since 2016
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Collector’s Guide
Imagine it at home
Discover more by the artist
L'onde sonore envahit l'atelier du peintre
Jean Le Gac
Print - 76 x 56 cm Print - 29.9 x 22 inch
€550
Presentation
Drawing teacher, Le Gac is not tempted by a career where he would have to adhere to the tendencies which dominate the 1960’s, and his first activities (promenades, postal mailings) set him apart from the conventional categories, like the ones of Christian Boltanski whom he meets in 1966.
Passionate about literature, he puts together first in modest notebooks juxtaposing photos and equally suggestive texts, the story of the mundane doings of an anonymous painter. This narrative material enables him to categorise himself as an “artiste-peintre” projecting his problems, doubts and moods onto his double.
He is presented by Harald Szeemann at the “Documenta V” in the Individual Mythologies context, and is then incorporated into the Narrative Art next to Boltanski, Messager and Jochen Gerz. His work gradually goes back to a classical presentation of painting: photos and texts (themselves photographed) are presented in framed panels, without losing their bookish aspect (The Painter of Tamaris, 1989, Introduction to the works of an artist of my kind, 1987). Since 1981, he reproduces with traditional techniques (pastel, charcoal) illustrations borrowed from popular literature, which enable his character to live new adventures, all equally stereotyped, and completes his images by objects (sowing machines, cameras, cinema projector) evocative of a mise en scene or of a fiction.
Since 1970, Le Gac exhibits regularly at the Daniel Templon Gallery and the Granville Gallery in 2009 and 2011. Galerie Catherine Issart, St Paul de Vence from 1982 to 1994, and Galerie Brigitte March in Stuttgart.
Was exhibited at the Venice Biennale, French Pavillion, in 1972, International Pavillion in 1976 and 1980, and at the Documenta V, Kassel 1972 and Documenta VI, Kassel 1977.
Read more
Passionate about literature, he puts together first in modest notebooks juxtaposing photos and equally suggestive texts, the story of the mundane doings of an anonymous painter. This narrative material enables him to categorise himself as an “artiste-peintre” projecting his problems, doubts and moods onto his double.
He is presented by Harald Szeemann at the “Documenta V” in the Individual Mythologies context, and is then incorporated into the Narrative Art next to Boltanski, Messager and Jochen Gerz. His work gradually goes back to a classical presentation of painting: photos and texts (themselves photographed) are presented in framed panels, without losing their bookish aspect (The Painter of Tamaris, 1989, Introduction to the works of an artist of my kind, 1987). Since 1981, he reproduces with traditional techniques (pastel, charcoal) illustrations borrowed from popular literature, which enable his character to live new adventures, all equally stereotyped, and completes his images by objects (sowing machines, cameras, cinema projector) evocative of a mise en scene or of a fiction.
Since 1970, Le Gac exhibits regularly at the Daniel Templon Gallery and the Granville Gallery in 2009 and 2011. Galerie Catherine Issart, St Paul de Vence from 1982 to 1994, and Galerie Brigitte March in Stuttgart.
Was exhibited at the Venice Biennale, French Pavillion, in 1972, International Pavillion in 1976 and 1980, and at the Documenta V, Kassel 1972 and Documenta VI, Kassel 1977.
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