dimanche 22 mars 2026

2026 - L'Avers et son REVERS ©2023 - 33*

Mine de plomb, 24x32 cm, REVERS 33*
2011 - Article dans la “République”
2021 - Bandeau Napoléoniennes Info 2021*
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2 commentaires:

  1. Jean-Marc Mellier22 mars 2026 à 23:00

    L’avers et le revers désignent les deux faces d’une pièce de monnaie ou d’une médaille, chacune ayant une fonction et un symbole distinct.
    Définition de l’avers et revers d’une pièce 
L’avers et le revers sont les deux faces d’un objet, généralement une monnaie, une médaille ou une médaille commémorative. L’avers est la face principale, souvent décorée d’un portrait, d’une effigie ou d’une inscription importante, tandis que le revers présente des éléments secondaires, comme des symboles, des scènes ou des informations complémentaires.

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  2. Jean-Marc Mellier22 mars 2026 à 23:01

    Portrait Briard in the republic

    Jean-Marc MELLIER
    He discovers women through painting

    Lingering on the edges of a salon allows you to discover talents that you do not suspect.

    At a fair of artists briards in the Hôtel-dieu de Brie Comte Robert, the competent visitor could not ignore the paintings by Jean-Marc Mellier. Her four works presented, in particular Femme d'O and City Women’s, swept by the light of the first floor, did not hide anything about the immense talent of their creator.

    Jean-Marc Mellier paints women “At the age of sixteen, I produced a work on the virgin “at the Hôtel d'Albray” he recalls in the beginning of his art.
    His technique, firmly based on a thorough study of the composition, he works according to his cardboard, is supported by an original and precise graphics without being boring. I assume that everything is good to use, a glass, a jar... Whatever my subject, I make my own compositions. I work according to a cardboard that serves as my logo, several works are from this work, so the cardboard of Bayadères allowed me to make the boudeuses.

    The light
    Light has an important place, even primordial in his work. How can we not stop at the ethereal forms of “Women of O” that seem to be out of the space in which they evolve, shadow more than flesh, they embody the whole elusive mystery of femininity. Provocation, dialogue between the real and the dream, fantasy of the artist in search of true pleasure ... Histoire d'O calls us to reflect

    Questions
    If the “Temporelles” ask us about the real place of the woman’s body in the composition, they invite us to follow them in their wandering through a world that they would like to imagine.

    In the foreground, the woman seems to wait and then, little by little, a voluptuous horizon is drawn out far away to return, an organic mass yet fragile, primitive, sensual, but so real of the secret woman who ends up giving herself body and soul. The exuberance of the bodies offered in «Bayadère-nuits parisiennes» opens a long dialogue between the real power of the privatist never disputed, and more so when it comes to the confrontation between the obvious feminism and the decadent superiority of the male object. These women speak for themselves and lead us to reflect on their elusive yet real power.

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