Oil on canvas
24 x 19.69 inches (61cm x 50cm)
Framed: 35 x 30.75 inches (89.2 x 76.8 cm)
Private Collection, Japan.
Private Collection, Europe.
Accompanied by a certificate of authenticity signed by the artist, dated November 11, 2011, numbered 464.
Roger Bouillot, Cassigneul: peintures 1950-1990, Paris, 1991, illustrated p. 102
This painting is sold with a certificate of authenticity from the artist.
Born in Paris in 1935, Jean-Pierre Cassigneul decided at early age to pursue multiple disciplines, and became extremely proficient as a painter, lithographer, engraver, illustrator, and muralist. At the age of 17, Jean-Pierre Cassigneul held his first solo exhibition in Paris. Two years later, he entered the Academie Charpentier and studied under Jean Souverbie, a professor at the Ecole des Beaux-Arts de Paris. He passed his entrance examination a year later and enrolled at the L’Ecole Nationale Superieure des Beaux-Arts de Paris. From 1956 until 1960, Jean-Pierre Cassigneul was instructed by Chapelain-Midy. During this period, he held exhibitions in Paris and other cities. He had a contract with the Gallery Bellechasse in Paris for several years after his first exhibition at the gallery in 1965.
Since then, his work has been exhibited extensively throughout Europe, Japan and the United States, including shows at the Galerie Tivey Faucon and Galerie Bellechase, Paris; Gallery Tamenaga, Japan and Wally Findlay Gallery, New York. Cassigneul has also illustrated several books, including Le Tour de Malheur by Joseph Kessel. Jean-Pierre Cassigneul went on to exhibit in various group exhibitions, including the Salon d’ Automne in Paris, where he was member, the Salon de la Jeune Peinture, and Meubles Tableaux (Furniture-Paintings), an exhibition held in 1977 at the Centre Beau Bourg. In this, he showed a piece of occasional furniture in the Louis XIV manner, the doors and sides of which, were decorated with female figures.
Jean-Pierre Cassigneul creates beautiful compositions of striking elegant women similar in the tradition of the early 20th century French Nabis artists, like Bonnard and Vuillard. His work is greatly influenced by the expressionist painter, Kees van Dongen, especially his very dramatic portraits and use of intense vibrant color.
Cassigneul presents here a wonderful beach scene with two ladies standing side by side on a boardwalk and in front of them is a small dog sitting on the beach. Their colorful outfits are fashionable and elegant. The background is the beautiful blue ocean with boats in the water and lavender sky with cottony clouds. The linear flow of the painting translates the ocean’s distance and blue horizon’s depth, and delineates the boardwalk’s wooden planks to the stretch of white-sand beach. The French-style blue beach tents capture the work’s title and the vibrancy of the primary colors invokes a clean, bright simplicity to their world.