Jean-Marc Doron

Rather banal secondary studies except in French, physical education and drawing. Totally bad in mathematics. After two years of studying advertising design at the Brassard school in Tours, he entered the Fine Arts of the same city in 1967 despite his parents' lack of enthusiasm. There he meets, among others, two students who will be decisive for his future career: Gérard Blanchard - the singer of “Rockamadour” - and Laurent Davidson, grandson of the famous American sculptor Jo Davidson and son of Jacques, an important gallery owner in Tours. Thanks to Jacques' support, he made his first group exhibition in 1968 for Art and Peace, a prestigious show where he had the honor to show his first paintings in the company of some of the greatest names of the century: Calder , Debré, Ernst, Picasso, etc ... and young painters in the making. From 1971, while continuing his studies at the Fine Arts, he joined the collective of “group 37” with Valentiner and Colandre and exhibited in the company of Ben, Viallat, Baboulène, Limerat, Roland Flexner and many other contemporary creators. With Colandre he created the association “Tours art vivant” to which many painters belong. Teacher, he does not support the school environment or the complacency of his colleagues towards the students and resigns without regret at the end of a year ... His work is oriented, at that time, towards a rigorously contemporary research and he participates in several important exhibitions and exhibits in the company of Titi Parant, Bonargent, Castex, Bizeul, Serplet, Chabot, etc ... In parallel, he exhibits regularly at the Davidson Gallery (and many galleries in the central region) and binds more and more with his creator, Jacques Davidson who presents him at the FIAC and thanks to whom he meets many confirmed painters with very diverse styles: Koch, Le Yaouanc, Moesle, Mathieu, Quilici, T'ang, Besse, and especially Olivier Debré who will strongly influence his future path. Indeed, he feels more and more restricted in his pictorial research. The rigor that he imposes on himself weighs on him. He then moves slowly towards a freer painting, more and more inspired by the moment and the impression. The meeting with Olivier Debré is decisive. The latter generously comes to visit him many times in his studio and encourages him to continue his research towards this lyrical abstraction of which he is one of the masters. If Debré remains forever the prodigious and spontaneous poet of spaces and of the Loire, Doron, while being inspired by the fluidity of his style, structures gesture and image a little more. The impression and the dazzling, remain the common features of these two artists but Doron leaves less room for the accident bringing a more “considered” touch to his work, as if he absolutely wanted to end up with a kind of “impressionism”. ”Abstract. Like his master, he drew more and more inspiration from the landscapes of the Loire and, later, from those of his many trips to Italy and Morocco. He then gets closer to painters such as Balitran or Pagé who work like him in Touraine.