Francis Glenat

BIOGRAPHY

Francis GLENAT was born in Paris in 1950.
Folksong singer, jazz guitar player, impassioned in speleology and photography, he has travelled all around the world before beginning studies of Anglo-American civilization at the university Paris VIII in 1970.

Its meeting with the type-setter and tachist painter Michel PUIG, with whom he will took part in the creation of a exhibition at the musical theatre to the festival of Avignon, will direct him towards musical pedagogy linking the visual one and the sound one and he will make a success of a graduate licence in musicology in 1976.

Going each year to the Avignon theatre festival, he is attracted by the colours and the quietude of the landscapes of the Ventoux Mountain near the “Palais des Papes “
He settles in BEDOIN every summer and from 1999 he began course of self-educated painter being exerted with the watercolour of Provence.

His career as a thanks to the advice of the painterinter Michel Leclerc he discovers a taste for composition and nuances.

The encouragements of this Norman Master will be decisive for his artistic course.
Its passion for painting will not leave him any more.
In August 2005, in the vault of Moustier, near Ventoux Mount, he undertook his first exposure in solo and presents forty art works on his favourite topics.
Eastern and Mediterranean realistic portraits of woman, landscapes of the South, still natures.

The success of this first exposure encourages news artistic researches and directed him towards more expressionist subjects indifferently from the pure figuration to the partial abstraction which he refuses to oppose.

The lighted quietude of his house of Vaucluse give him calms, sobriety to carry out the dead natures worked with more balance and originality.

His passion for jazz music often leads him to paint portraits of musicians.

Accentuated plays of light, enlargement of the subject and colours simplified to the extreme.

Autodidact and knowing that there is to learn much from contemporary art, he seeks new techniques to perfect his expression.

Sands of Morocco fascinate him and he carves in full paste its impressions of travel on ocrées and diluted ranges.

The crushed mortar is coloured and kittened before being applied and being worked on a prepared support.
The exploration of these pigments and these sanded matters give him the opportunity to him to exploit other tools

Brushes leave the place with the knives and the spatulas of plasterer.
Surfaces are smoothed, scratched, incised by fast and spontaneous epic.

The fabric often leaves the rest to be scraped, hammered, to be sandpapered too.
The frame itself is worked except framework and painting escapes from dimensions of the fabric.

The format increases and the prevalent square is essential.

Like in jazz music improvisation, the inversions of agreements are never employed in a repetitive way.

For more legibility, he organizes th...

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