Françoise Juvin (1927-2010) is a French artist born in Nancy. She entered the Ecole des Beaux-Arts de Lyon in 1941 where she met several artists such as Jacques Truphémus, André Cottavoz, Jean Fusaro, and Pierre Coquet who would become her husband in 1948. With the latter, she joined Sanzisme in 1945, term coined by the painter Philibert-Charrin to characterize a movement bringing together some former students of the Fine Arts of Lyon. Not wanting to belong to any artistic movement whose titles end with "-ism" (impressionism, cubism, etc.), they choose to name their group "Sanzism", literally Without "-ism".
This post-war period brings together the younger generations of less than thirty years who wish not to submit to any influence. While in the School of Paris, an intense debate develops around the notions of abstraction and figuration, in Lyon, this group of young artists, barely out of the rigors of war, takes up this debate on its own.
This new generation brings together personalities as diverse as André Cottavoz, Pierre Doye, James Bansac, Antoine Sanner, Jacques Truphémus, Jean Fusaro, Paul Philibert-Charrin, André Chaix, Paul Clair, Pierre Coquet, Edouard Mouriquand, Roger Bravard, Pierre Palué , André Lauran, Jean Mélinand and Françoise Juvin.
The first exhibition of the Sanzistes took place in 1848 in the chapel of the school, rue de la Bourse in Lyon.
In the 1950s, the couple moved to Paris, where Françoise taught plastic arts. She thus unites her two activities, she is both a painter and a teacher. In 1960, the Romanet gallery, formerly located on avenue Matignon, exhibited for several years works by Françoise with Pierre Coquet, Jacques Truphémus, Raoul Pradier and Coutelas.
The landscapes, the places chosen by Françoise take shape on the canvas, during the trip undertaken in several regions of France, in the North, in Tréport, in Les Sables d'Olonne and especially in the south, Collioure, Argelès, Nice and Cannes . But Paris also remains one of his favorite subjects, the zinc roofs; the typical facades of buildings, are for her a pretext to use cheerful and bright colors. “Her union with Pierre does not overshadow her nature. Where he, spontaneously subtracted, eliminates, she, with a kind of candor, brings, adds… and the color exults. " (Extract from the book" Les Sanzistes or the rebirth of modernity "by Antoine Vollerin, Editions Mémoire des Arts, 2002)
