Jean Michel Folon "L' Arbre" Serigraph for Gallerie Marquet, Paris, 1975

Excellent serigraph after Jean Michel Folon's serigraph "equlibriste" or "tightrope walker". Printed by Editions Marquet for Gallery Marquet in Paris, France. This print is in great condition, see pictures for details. It comes unframed. Jean-Michel Folon’s (Belgium 1934 - 2005) enigmatic landscapes and mysterious humanoid forms helped revolutionize conceptual approaches to illustration in the late 20th century. While Folon has worked across multiple disciplines—including painting, textile, sculpture, stained glass, and printmaking—he is perhaps best known for his drawings and watercolors depicting landscapes in the vein of Surrealist masters such as Salvador Dalí and René Magritte. These works depicted idyllic forests and prison-like skyscrapers populated by butterfly or bird/human hybrids he called “Everymen.” Folon’s drawings were published in such publications as Esquire, The New Yorker, and Time, among others, and he illustrated a number of well-known books. Folon widely exhibited during his lifetime, including at institutions such as Les Arts Décoratifs, the Museum Boijmans Van Beuningen, the Metropolitan Museum of Art, the Institute of Contemporary Arts in London, and the Musée Picasso...

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Jean-Michel Folon (1 March 1934 – 20 October 2005) was a Belgian artist, illustrator, painter, and sculptor The first exhibition of his watercolors was in New York in 1969 in the Lefebre Gallery. One year later he exhibited in Tokyo and in the Il Milione gallery in Milan. He also participated in the XXVth Venice Biennale. In 1973 he joined the selection of Belgian artists in the XXVth São Paulo Biennale, where he was granted the Grand Prize in Painting. Over the years his work concentrated on different techniques, including watercolor, etching, silkscreen, illustrations, mosaics, and stained glass, which showed the diversity of his art. His work Ein Baum stirbt - Un albero muore, 1974, is by Museo Cantonale d’Arte [de] of Lugano. He also designed numerous posters, often for humanitarian causes. Around 1988 he created his first sculptures made out of wood. He then moved on to creating sculptures in clay, plaster, bronze and marble, while continuing to paint. Several museums dedicated exhibitions to him, among them the Musée des Arts Décoratifs in Paris in 1971, the Museum Boijmans Van Beuningen in Rotterdam in 1976, the Institute of Contemporary Arts in London in 1977, the Musée Picasso in Antibes...

Original, midcentury poster dated 1975 from Gallerie Lovreglio in Nice, France. Signed by the artist Jean Messagier (1920-1999), multi-faceted artist. Measures: 17" W × 1" D × 24" H "Like the meanders of the Doubs so dear to Jean Messagier, the furrows that the artists on the paths of art history are sometimes complex and tortuous. Messagier, famous since the 1950s, exhibited all over the world, a friend of painters, rockstars and poets, began the 1980s with a retrospective exhibition at the Grand Palace (Paris) which then marks, paradoxically, the beginning of a certain forgetfulness. The reasons are many times that today the work of this immense artist is partly forgotten, in all unknown cases, and is probably the object of a misunderstanding. Messagier, abstract? Arise then these images of colorful tracery, this so-called "tile washer" painting, which was, he, is true, that of her first successes and her consecration, but which is only one of facets of a gigantic and protean work that has endlessly put itself in danger and to reinvent herself. The object of the retrospective imagined at the Musée de Dole in 2019 is clearly to show that Messagier was working beyond the issues of figuration and of abstraction, in an urgency to paint, to draw, to create, which has as principal obsession to respond to the cruel creativity of nature. Messagier, springtime specialist, ecologist almost before the hour, experimenter of frost painting winter, poet of the sap and pollen, draws his breath in that, vital, libidinal of nature. It's the same energy that pushed him to touch everything, with a freedom and a lack of interest manifest for opinion or criticism. It does not matter if we say crazy - on the contrary - Messagier the almost American abstract painter never finished with the figure or the figuration and allowed herself as early as the 1970s to both summon images from the popular culture like Goldorak, the Marsupilami, Betty Boop, glamorous figures like Lady Di or Greta Garbo, to jostle her masters by quoting Delacroix, Matisse, Picasso ... with total irreverence. These years 1970-1980, where will face jovial triviality, fried eggs, radishes, a thousand giant leafs...