Françoise Juvin (1926-2010)
Paysages Sanzistes, du 16 décembre au 16 janvier 2022
Francoise Juvin (1926-2010)
Sanzist Landscapes, from December 16 to January 16, 2022
Like our dear Pierre Coquet, Françoise Juvin, who was his wife, was part of the Sanzistes group in the 1940s.
Working on smaller formats, his paintings reflect a sensitive and colorful painting inspired by his passion for travel, Florence, Venice, Istanbul, Lisbon... but also France, notably Paris and Cannes.
His luminous palette is distilled by a quick touch charged with emotion and humility.
Sanzism
This was the name imagined by former students of the Beaux-Arts de Lyon to baptize the exhibition they had organized in the chapel of the Ampère high school in the middle of the post-war period. The fashion was for “ism” movements: Impressionism, Pointillism, Fauvism, Cubism, Dadaism... and many others.
Our young people of course rejected any reference to these "schools", even if their collective and individual approach was naturally in line with what the "Ziniars" or the "News" had done in Lyon in the previous decades. . This explains the word "Sanzism" since we no longer wanted to be attached to any "ism" whatsoever.
At the time, no subsidy. No Drac. No General Council. No Cultural Assistant. No subsidy… It goes to show that talent, and even more so genius, can very well do without subsidies that transform Art – free by definition – into civilized, “beghainized” or even “allagonizing” Art. Our artists, however penniless, had to manage to finance somehow, their exhibition by their own means. This made the Lyonnais discover totally dissimilar personalities and yet so close. All had benefited from the influence of their teachers: Vieilly, Chartres, Dumas, Chancrin.
The fiery Cottavoz rubbed shoulders with the modest Truphémus and the tender Fusaro for the first time; but also the grating Philibert-Charrin, the too modest Pierre Coquet, the indispensable Pierre Doye, the avant-garde and late Antoine Sanner, the promising Bansac who "lost" himself in advertising and decoration, the sensitive Bravard, the comedian Chaix, the scrupulous Paul Clair, the quivering Françoise Juvin or even the severe André Lauran. I forgot a few others. The exhibition was a success. And even a kind of triumph. More than 2,800 visitors came.
Anxious to maintain their independence, the former students of the Beaux-Arts never renewed the experience. History not to transform this magnificent coup into a semblance of movement. An attempt to return there failed in 1950. To the great joy of Philibert-Charrin, an uncompromising separatist.
By Jean-Marc Requien
