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Jean Touret
"Resurrection"
March 31st - April 30th
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Jean Touret à la Pipe, c. 1950
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His house overflowed with large silhouettes sculpted in tree trunks, pensive and enigmatic, as well as wall panels carved in wood and populated with figures in relief, panels in zinc or copper, embossed and incised, where dancers, musicians, and innumerable naked female formes are depicted. Of all these sculptures, Touret rarely exposed any and he never sold even one. In their message as well as their creation, they are revealed today with a troubling acuteness. In the turbulent times following the second World War, Jean Touret wanted to share his faith in beauty through his works. For him, there was an exact value, one that is comforting and is the same since the beginning of the world. This mystic had discovered and wondered at the artworks of the Lascaux and Chauvet caves. Consciously or not, he used the same techniques in his works as the artists of the Magdalenian, who used the hollows and bumps of the rock to give a troubling relief to their female bodys and engraved animals. Touret used knots in the wood and reliefs in embossed metal to give life and movement. He wanted his sculptures to be prophetic, heralding the return of joy as testimonies of eternal harmony. Touret didn't think to promote his pieces, he was too busy creating them.
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LE GROUPE FONDATEUR
De gauche à droite : Émile Leroy, Manuel Gold, Henri Vion, Jean Touret et Edmond Le Flohic (circa 1950)
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