JEAN-PIERRE PINCEMIN | Untitled

Private collection, Belgium
Sale, Sotheby's Paris, Contemporary Art, 9 December 2009, lot 129 (erroneous date)
Private Collection, France (acquired from the above)

Paris, Galerie Jacques Elbaz, Jean-Pierre Pincemin, Peinture 1986-2004, 28 September - 26 November 2011; catalogue, p. 23, no. 8, illustrated in colour

Please refer to the website for the correct image of the lot. The work is slightly dusty. The work was executed on its original canvas and was not relined. There is a tiny hole located in the extreme lower right corner. There are light wear marks along the lower edge near the rim. Some areas by the rim of the canvas remain unpainted. The work is in very good condition. There is no evidence of restoration under UV light inspection.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Autodidacte et polymathe, Jean-Pierre Pincemin explore dès les débuts de sa carrière un ensemble impressionnant de voies plastiques et de matériaux composites. Travaillant aussi  bien la sculpture que la céramique, la peinture que la gravure, il s’inscrit à la fois dans les pas des grands maîtres de la peinture classique qu’il admire au Louvre que dans ceux de ses contemporains, puisant son inspiration tant au musée que dans les magazines. Associé un temps aux activités à la nébuleuse Support-Surface mettant en cause le cérémoniel traditionnel pour revenir au geste le plus fruste et apporter une réponse au débat qui fait alors rage en France autour de l’usage de la peinture, il s’émancipe rapidement de tout courant, refusant de faire table rase du passé pour s’imposer en peintre absolu. Fondamentalement engagé dans l'obsession de la construction de la peinture, sa trajectoire plurielle mais pourtant particulièrement cohérente reflète parfaitement son engagement constant dans un renouveau purement plastique de la composition du tableau. Self-taught and polymath artist, Jean-Pierre Pincemin started exploring an impressive range of artistic voices and mediums from the beginning of his career. Working with sculpture as well as ceramics, painting and engraving, he followed in the footsteps of the great masters of classical painting he admired at the Louvre and those of his contemporaries, drawing inspiration from both museums and magazines. For a time associated with the Support-Surface movement that questioned the traditional painting ceremonial to come back to unsophisticated gesture and bring an answer to the raging debate around painting in France, Jean-Pierre Pincemin quickly broke free from all affiliation, refusing to erase the past to establish himself as an absolute painter. Totally committed and obsessed with pictorial experiment, his diverse yet very coherent trajectory perfectly reflects his long-term commitment toward a purely plastic renewal of pictorial composition.



This work is accompanied by a certificate of authenticity issued by Jacques Elbaz.