Biography

Jean-Paul Agosti, Artiste peintre

Jean-Paul Agosti, born in Paris on 17 Au­gust 1948, son of Paul and Jeanne Fac­chetti, showed early signs of an artis­tic vo­ca­tion. He was en­rolled in the École des Beaux-Arts in Paris, Across the street from the Fac­chetti Stu­dio, rue de Lille. He stud­ied under the painter André Chastel, an artist of the Paris School, showed an in­terest in litho­graphy while he was as­sist­ing his father in his art gal­lery.

At that time Agosti’s friends in­clude such artists as Phil­ippe Stark, Gérard Garouste and Fas­si­anos. He was very close to his younger brother Yves, also an artist, who showed real prom­ise in the fields of pho­to­graphy and music. Un­for­tu­nately, this close re­la­tion­ship was broken off by Yves’ ac­ci­dental death in 1970. Agosti chose to de­voted him­self to paint­ing in 1974, at the time when his father’s gal­lery moved to the rue des Saints-Pères.

Paul Fac­chetti had de­cided to have the new gal­lery re­fur­bished and hired the ar­chi­tect Carlo Scarpa, who im­ple­men­ted an am­bi­tious pro­gram of works which were to take two years and yiel­ded a spa­cious gal­lery fit­ted in marble and alu­minium.

At that time Agosti was in­ter­ested in land­scape garden­ing and in the prob­lems of lim­its in space that are in­her­ent to this dis­cip­line. Agosti was al­ways fas­cin­ated by nature, a trait the may well hark back to his chil­hood when the fam­ily would go to the coun­try to visit his grand-par­ents in Bièvre and in the city of Vitré in Brit­tany, the birth­place,  of Jeanne Vétillard, his mother. In 1975 he had an ex­hib­i­tion en­titled Ob­jets d’es­pace, in the Rae­ber Gal­lery in Lu­cerne, Switzer­land, with his first cata­logue pre­faced by Richard Ducous­set : “The idea of an ob­ject ex­ists. Pure and per­fect.

The ob­ject it­self ex­ists and un­folds in space. It’s rep­res­ent­a­tion ex­ists on can­vas or paper – this is the third stage of the ob­ject. The subtle dif­fer­ences between the three stages in­sinu­ate them­selves and pro­ject us from the image to the ima­gin­ary. This con­fuses the in­tel­lect and en­rich the po­etic mind”.

portrait de jean-paul agosti

Beginnings

Jean-Paul Agosti, 1960

At the out­set he drew highly frag­men­ted, highly or­ganic sub­jects, using india ink and re­strict­ing him­self to black and white. this form ten­ded to sug­gest the pro­lif­er­a­tion of an ori­ginal chaos and con­sti­tuted what he would later refer to, in terms bor­rowed from the idiom of al­chemy, as his opus nigredo or “black work”. in 1976, he left paris and settled in the small town of Gif-sur-Yvette within the derel­ict walls of an an­cient abbey, which had been en­dowed with a very fine garden. this he set out to paint in all hu­mil­ity. he turned to wa­ter­color after hav­ing pro­duced a con­sid­er­able num­ber of works in gou­ache: “Wa­ter­col­or is not, as some may be in­clined to think, a some­what in­ferior tech­nique which artists prac­tice for fu­tile motives. in my view, a it is no longer a sec­ond­ary ob­ject, a mere sketch or re­flec­tion of some finer work. Wa­ter­color has be­come my great ad­ven­ture. »

An ad­ven­ture in the prac­tical realm, which, like all seem­ingly simple un­der­tak­ings, turns out to be highly com­plex as soon as one at­tempts to mas­ter its ef­fects. the best com­par­ison is provided by music where forms are re­peated over and over until mas­tery is achieved”. Paul Fac­chetti de­cided to ex­hibit Agosti’s work in 1978, just one year after he had had his one-man show in the Martha Jack­son gal­lery in new york.

At that time, only con­cep­tual works were being dis­played in gal­ler­ies and Agosti’s wa­ter­col­ors were ut­terly alien to this sort of work. the ex­hib­i­tion the gar­dens of gif’ found an audi­ence and a crit­ical fol­low­ing in the shape of sever­tal art­icles, in­clud­ing one by Olivier Cena: “through the simple and nat­ural beauty of the sub­ject and through the trans­par­ency of his col­ors, Agosti man­ages to ex­press all the fresh­ness and po­etry of a world which has been lost forever”. This un­usual view of a garden hints at the com­plex­ity of a world that lies bey­ond the sim­pli­city of mere ap­pear­ance that still re­mains to be per­ceived.

To those who see things rightly, a single space holds out sev­eral levels of real­ity that need to be dis­covered. In such works as Écrit­ure de la haie, Six carrés et le ciel or Mouve­ments gris, two graphic states lead us down a po­etic trail where it soon be­comes ap­par­ent that we are in pres­ence of a “here and now” bit also of an “else­where”. In 1980, Fac­chetti de­cided to ex­hibit Agosti’s work at the fiac (the in­ter­na­tional fair of con­tem­por­ary art, in paris) with the marked in­ten­tion of re­turn­ing to the ori­gins of paint­ing in op­pos­i­tion with the reign­ing con­fu­sion of genres. the al­ex­an­der iolas gal­lery in new york took an in­terest in his work and offered to dis­play his work under the title gen­esis, land­scape, fractals.

Fractals

After his jardin de gif ex­hib­i­tion, Agosti felt a def­in­ite need to re­turn to a true sub­ject of nature. this led a group of works en­titled mares et rochers (ponds and rocks). long walks in the fon­tainebleau forest with the painter Robert Ladou, provided an ex­cep­tional op­por­tun­ity to ob­serve nature at close range and in its full or­ganic scope: “in my mares et rochers series, i was con­fron­ted with a nat­ural ob­ject that was un­en­cumbered with any human in­ter­pret­a­tion, dir­ectly en­gaged in its own phys­ical laws, its pro­cesses of erosion, its struggle for light. this yiel­ded a form of geo­metry quite alien to the bi­d­i­men­tional square of the gar­dens; a geo­metry com­posed of sep­ar­ate lay­ers in space, and thus a fractal geo­metry with all the im­plic­a­tions of scale”.

Agosti’s en­counter with the pol­ish math­em­atician Benoît Man­del­brot and his dis­cov­ery of fractal thought turned out to be a de­cis­ive mo­ment. Man­del­brot was the first to allow the pub­lic to visu­al­ise com­pu­ter­ized fractal im­agery. Agosti met him thanks to his friend

The phys­i­cist and chem­ist Alain le Méhauté on the oc­ca­sion of a lec­ture de­livered by the philo­sopher michel serres  in the pal­ais de la découverte in paris. Man­del­broit’s sci­entific ap­proach for­ti­fied him in his per­sonal ap­proach and en­riched his un­der­stand­ing of struc­ture. Agosti real­ized that, thanks to their in­stru­ments, sci­ent­ists man­age to form­al­ise the very same as­pects of nature that he had touched upon in­tu­it­ively in his art. but the as­pect that most de­f­in­itely in­ter­ested him resided in the fact that fractal though marked a break with the idea of a eu­c­lidian space which had served to co­dify the image, but also with the no­tion of serial pro­duc­tion.

This led him to de­vise an ar­bor­es­cence which al­lowed the struc­ture of the work to re­flect de­tails which he deemed es­sen­tial. such an ap­proach offered a model of real­ity de­vised by means of a much subtler and more pre­cise in­stru­ment than any he had formerly had at his dis­posal. at that same time, an­other artist, Jean Le­tourneur, had come to the same con­clu­sion. this meant that there was not merely a fractal art but a fractal re­volu­tion of the mind in which sci­ent­ists and artists stood side by side.

Zen, carré bleu, 1978, 75x105 | Jean-Paul Agosti

Microcosm

Écritures de midi, Jardin calme, 1980, 75x105 | Jean-Paul Agosti

Agosti con­tin­ued to deal with the same sub­jects there­after, without sur­ren­der­ing to the se­duc­tions of the serial image. he de­pic­ted the edge of a river or pond, where earth and water mingle and where sky and  trees are re­flec­ted in turn. on his baths of apollo, he es­tab­lished a cor­res­pond­ence with the in­fin­ity of mir­rors so char­ac­ter­istic of the aes­thet­ics and the sym­bol­ism of ver­sailles. in his wa­ter­col­ors he pa­tiently de­scribed the in­terior of a sphere, a mi­cro­cosm in which the four ele­ments, of fire, air, water and earth are mingled. Agosti’s main am­bi­tion is to be a wit­ness whose work trans­mits cer­tain ac­quis­i­tions of the hu­man­istic tra­di­tion. in doing so, he man­ages to cre­ate a hy­per­bolic space in which a same poly­chrome image is re­peated on dif­fer­ent scales in which he re­sorts to the mono­chrome and uses on a primary col­ors to un­fold a con­stantly de­vel­op­ing ar­bor­es­cent space. this echoes the baroque no­tion of the mise en abyss of an image  [the french term of mise en abyss des­ig­nates an ef­fect also known as the droste ef­fect. this is the visual ex­per­i­ence of stand­ing between two mir­rors and dis­cov­er­ing an in­fin­ite re­pro­duc­tion of one’s own re­flex­ion] and the or­der­ing of an ori­ginal chaos.

”what can be said in re­gard to what lies out­side frame”, Agosti asks, “what lies bey­ond the frayed edges of the liv­ing hedge? can that space be ap­pre­hen­ded, what might that other locus be, i ask you?”. this de­term­in­a­tion to bring order into the pro­lif­er­a­tion of nature is typ­ical of Agosti’s work, but also a yearn­ing to reach bey­ond it. “the para­dox be­comes ap­par­ent when the work is done: it is not longer part of my­self, yet it re­mains thor­oughly mine, with all those in­flec­tions, the choice of forms, the co­he­sion and the frac­tures, the stresses and com­pres­sions of every kind, the up­roar and the si­lences ; all that no longer seems to be­long to me,. un­less this merely mean that it has not yet be­come mine”.

But Agosti is not just an artist who hap­pens to work with fractals, nor is he in any way in­clined to allow his work to be iden­ti­fied with this concept. this is what promp­ted him to mark his dif­fer­ence from the in­ter­na­tional group which termed it­self the fractal­ists and to clar­ity his stand in a let­ter writ­ten in 1997, de­clin­ing an in­vit­a­tion to par­ti­cip­ate in a group show at pur­chase col­lege in New York: “My chief re­ser­va­tion re­gard­ing the work of these artists, is the fol­low­ing: to my know­ledge none of them have mod­i­fied the struc­ture of their work or in­deed the local-global re­la­tion­ship as i have done. none has chosen to re­nounce what i call “séri­al­ism” (the re­pe­ti­tion of the same). This holds ser­i­ous con­sequences for the so-called fractal­ists and it is suf­fi­cient for me not to feel any af­fin­ity with this “im­pos­ture””.

This at­temp­ted sim­pli­fic­a­tion goes agains Agosti’s aes­thetic ap­proach which is both more thought­ful and more at­tached to the com­plex­ity of the sym­bolic im­plic­a­tions which he strives to de­velop in ref­er­ence to the labyrinth or to the tree of the sephiroth for in­stance. in this pro­cess each frag­ment only ex­ists through the re­la­tion­ship it es­tab­lishes with the whole. re­luct­ant to any re­duc­tion to unity, the frag­ment, in its fractal in­com­plete­ness, holds a prom­ise re­gard­ing the fu­ture and pos­sibly of a uto­pian res­tor­a­tion.

Travels

In re­gard to the concept of time, Agosti has con­stantly sought to re­view the rel­ev­ant myths and he en­joys work­ing on the memory traces in­her­ent to any site. this was in­deed the sub­ject of a trav­el­ling ex­hib­i­tion or­gan­ised in ger­many by Marie-Louise Sr­ing in 1985, with the sup­port of the afaa (as­so­ci­ation française d’ac­tion artistique), en­titled gechichte als wider­stand, “his­tory as res­ist­ance”. in 1988 he also showed his work in Ar­lette Gi­maray’s Gal­ler under the title, tables d’ori­ents – or table of bear­ings, an ap­prox­im­a­tion of the term which serves to des­ig­nate what is more pro­sa­ic­ally known in eng­lish as a “view­point in­dic­ator”. on this oc­ca­sion he presen­ted a num­ber of short texts touch­ing upon the aes­thetic pref­er­ences that de­term­ine his ori­ent­a­tion. taken to­gether, nature, its frac­tion­at­ing, its pro­lif­er­a­tion and the re­it­er­a­tion of a sem­inal image trans­posed into dif­fer­ent scales open the way to such very large paint­ings as the ten by three meters fresco ex­ecuted for the College André Malraux in Paron (1984). his friend­ship with the sci­ent­ist alain le Méhauté led to an artistic pro­ject for the in­sti­tut supérieur des matériaux du mans, which presen­ted Agosti’s work in the full­ness of its ar­chi­tec­tural and plastic scope. “bey­ond their re­spect­ive idioms, both artists strove to achieve beauty.

in Agosti’s sight this meant the reson­nance of col­ors and the har­mont of forms. in the sight of le Méhauté, it had an ab­stract qual­ity, rest­ing upon the match­ing of the math­em­at­ical in­stru­ment and its ob­ject, com­plex and com­pos­ite, the mi­cro­scopic im­ages pro­duced by the math­em­at­ical tool dis­play a strange af­fin­ity with the nat­ural forms mag­ni­fied by the former”. art and the sci­ences are thus in­tim­ately bound to­gether. Agosti is non­ethe­less at pains to point out that no plastic or aes­thetic link is to be sought between a com­pu­ter­ized fractal im­ages and his own art. the meta­phor­ical de­velopment of ar­bor­es­cent im­ages touch­ing upon the in­fin­ite range of pos­sib­il­it­ies in the field of rep­res­ent­a­tion, hinges upon this point of ten­sion between any given de­tail and the glob­al­ity of space.

As Maïthé Valles-Bled, then cur­ator of the musée des beaux-arts de chartres points out: « You al­ways find three phases in Agosti’s ap­proach to nature, and in each of them he elab­or­ates an evolving sys­tem which tends to­wards in­creas­ing com­plex­ity. the first of these is wa­ter­color, which of­fers a re­l­at­ively sim­pli­fied frame of rep­res­ent­a­tion of the land­scape; next comes the draw­ing, which fur­ther elab­or­ates on the de­vel­op­ment of the sys­tem. and out of these two the painted work fi­nally emerges. this paint­ing, which can be more or less ab­stract, now iso­morphic, now cos­mo­lo­gical, al­ways re­mains con­nec­ted to what pre­ceded it, through the very pro­cess of its gen­er­a­tion” from his many travels, par­tic­u­larly to japan, and from the vari­ous gar­dens he then dis­covered,- such as the Ryôan in Kyoto – Agosti has fur­ther learned to define the bounds of the nat­ural space of his ima­gin­a­tion, which al­ways dis­plays af­fin­it­ies with the french garden.

He shares this love of gar­dens with his friend the poet Salah Stétié who sees in them “areas of os­mosis, ana­morphos­is and metamorph­osis. in these gar­dens, through the mi­ra­cu­lous power of the heightened song, a per­fect face takes form some­what being the veil of light, the face of a man or of a god, per­haps that of orph­eus him­self… the greatest merit of this face is no doubt that it re­mains in­vis­ible, thus draw­ing all the vis­ible to it­self and of­fer­ing it up” 11 Agosti’s work is a re­sponse to a suc­ces­sion of meta­morph­oses in space and time, by which the her­it­age of former times, in a po­etic re­birth, once more takes shape. this is ap­par­ent in his suite d’hermès which was ex­hib­ited at the Thessa Her­old gal­lery in 1996, or in his jardin hiéro­glyph­ique, shown in the musée Saint Roch in Is­soudun in 1998.

Dans l'atelier avec Jean-Paul Agosti

Exhibitions

1975 – Lucerne (Suisse), Galerie Raeber, Objets d’espace

1976 – Paris, Galerie de Causans, “Ephemeris”.

1977 – New York, Martha Jackson Gallery

1978 – Exhibition of drawings for the inauguration of the “Bains-Douches” restored by Philippe Starck

1978 – Paris, Galerie Paul Facchetti, “Jardin de Gif”

1980 – Zurich,Galerie Paul Facchetti
– Chicago, Art Chicago, “Navy Pier”
– Paris, FIAC, Grand Palais, Galerie Paul Facchetti

1982 – Montpellier, Théâtre Municipal, décors pour Faust de Gounod, mise en scène de Jean-Paul Lucet

1984 – New York, Alexander lolas Gallery, “Genèse, Paysages, Fractals”

1985 – New York, Bruno Facchetti Gallery

1986 – Paris, Galerie Maximilien Guiol, “Mnémosine”
– Paris, Galerie Jacqueline Feldman, “Jardins tranquilles”
– Tübingen (Allemagne), Galerie Am Haagtor

1988 – Paris, Galerie Arlette Gimaray, “Tables d’Orient”

1991 – Paris, Galerie Johanna Vermeer, “Paradiso”

1993 – Paris, Galerie Arlette Gimaray, “Côté jardin”

1994 – Sens, Musées des Beaux-Arts de la Ville, “Suite d’Orphée”

1996 – Paris, Galerie Thessa Herold, “Suite d’Hermès”
– Schônaich (Allemagne), AIC, “Métamorphoses”

1998 – Issoudun, Musée de l’Hospice Saint-Roch, “Jardin hiéroglyphique”

2000 – Paris, Galerie Thessa Herold, “Labyrinthes”
– Madrid, ARCO, Galerie Thessa Herold, “Rétrospective”

2002 – Parly, Centre d’Art de la Métairie Bruyères, “Canopées”

2003 – Paris, Galerie Thessa Herold, “Métamorphose des Canopées”
– Madrid, ARCO, “Métamorphose des Canopées”
– Troyes, Maison du Parc de la forêt d’Orient, “Canopées”

2004 – Barcelone, Galerie Artur Ramon

2005 – Musée de Lodève, “Ennéades”
– Espace Jean de Joigny, “Locus neminis”

2007 – Galerie Pascal Lorain, Paris, “Les Elysées de l’Art”

2009 – Galerie Must, Gordes (Dept.84)
– Paris, Galerie Guillaume, “Entre terre et ciel”

2012 – Paris, Galerie Guillaume, “Epiphanies”

2012 – Château d’Auvers-sur-Oise ,”Harmonies”
– Musée de Vitré (Dept.35), “Jardin, terre-ciel”

2014 – Paris, Galerie Guillaume, “AÔR”

2015 – Paris, Galerie Guillaume
Models of stained glass of St. Joseph of Reims and recent watercolors 
– Joigny’s Médiathèque “Les vitraux d’Agosti”

2017 – Korea, Ung-No-Lee Museum

2018 – Paris, Galerie Guillaume
Parc, Mnémosyne

2020 – Paris, Galerie Guillaume
« Eudaemonia »

1973 – Paris, Galerie Paul Facchetti

1974 – Zürich, Galerie Paul Facchetti

1975 – Milwaukee, USA, Art Center

1976 – Calice (Italie), Centro d’Arte

1977 – New York, Martha Jackson Gallery, exposition itinérante

1981 – Paris, Galerie Charmy·Lenvers, « Jardin autour de la maison
 »

– Rennes, Maison de la Culture, « Parcours »
– Zurich, Galerie Paul Facchetti, « Espace poétique
 » – Stockholm, Art Fair, Galerie Maximilien Guiol
– Rome, Studio d’Arte De Crescenzo, Burattoni & Fouque, Agosti
– Paris, FIAC Galerie Paul Facchetti
– Paris, Atelier Burattoni & Fouque, « Le Génie de la Bastille »
– Brême, Karlsruhe,Düsseldorf,Hanovre “Geschichte als Wiederstand”, exposition itinérante organisée par l’AFAA
– Hambourg et Hanovre, « Artware », exposition Art-Science organisée par Siemens

1986 – Stockholm, Art Fair, Galerie Maximilien Guiol

1987 – Monaco, Lauréat du XXIe Prix international d’art contemporain
– New York, « Digital Vision », première exposition itinérante organisée par IBM,
Syracuse, Everson Museum
– Paris, Musée des Monuments Français, « Images de jardins
 »

1988 – Chartres, Musée des Beaux-Arts

– Paris, Galerie Arlette Gimaray
– Paris, Galerie Gutharc-Balin, « Tableaux debout »
– Sens, Galerie Abélard
– Paris, Galerie Johanna Vermeer

1991 – Sens, Galerie Abélard
– Joigny, Atelier Cantoisel

1992 – Orléans, Galerie Madeleine Fraquet
– Joigny, Atelier Cantoisel, « Image de Joigny »
– Sens, Moulin du Roi
– Paris, Galerie Arlette Gimaray, « Les Piliers de la Sagesse
 »

1993 – Paris, Galerie Arlette Gimaray, « Bleu Mazarine »
– Lyon, Université de Lyon, « La Fractalité dans l’art »
– Paris, Galerie Arlette Gimaray, « Equinoxe »
– Joigny, Atelier Cantoisel, « Lieux de la Gravure ».

1994 – Paris, Galerie Mabel Semmler, « Tohu-Bohu »
– Paris, Galerie La Pochade, « Eventails d’artistes », exposition itinérante
– Paris, FIAC, Galerie Thessa Herold, « Deux Hommes d’arbre » (avec Mario Prassinos)
– Munich, Galerie Karin Sachs, « Die Scbônbeit des Fraktale »
– Luxembourg, Galerie Lucien Schweitzer, « Deux Hommes d’arbre »
– Paris, SAGA, Editions Robert et Lydie Dutrou

1995 – Issoudun, Musée de l’Hospice Saint-Roch, « L’Arbre en majesté »
– Monaco, rétrospective des lauréats du Grand Prix de S.A.S. le Prince Rainier III
– Joigny, Atelier Cantoisel, Jean-Paul Agosti et Alexandre Hollan, « Etats d’arbres
 »

1996 – Schônaich, Rathaus, « Farbe Bekennen »
– Paris, Galerie Patrick Varnier, « L”Ame des végétaux »
– Joigny, Atelier Cantoisel, « Côté histoire, je crée.. »

1997 – Paris, Palais de la Découverte, « Entre Art et Science, la Création »

1999 – Dixmont, Salon d’Automne

2000 – Joigny, Atelier Cantoisel, 20 ans d’activité,
 « Support mémoire »
– Paris, Galerie Patrick Varnier

2001 – Paris, FIAC, Galerie Thessa Herold
– Issy-les-Moulineaux, Médiathèque, exposition
Salah Stétié

2002 – Madrid, ARCO, Galerie Thessa Herold
– Paris, FIAC, Galerie Thessa Herold

2004 – Paris, FIAC, Galerie Thessa Herold
– Marnay-surSeine, CAMAC, Ars et Locus, « 
Espace: tension et structure
 »

2005 – FIAC, Paris, Galerie Tessa Herold
– Galerie Patrick Varnier, Paris

2006 – FIAC, Paris, Galerie Tessa Herold
– MIART, Milan, Galerie Tessa Herold
– ARTPARIS, Galerie Tessa Herold
– Fondation Coubertin et Ars & Locus Institut, St.Remy-lès-chevreuse, “Le spectre des jardins”
– Edition: “A claire voix”, avec le poète Jean Clarence Lambert, Ed. Livres pauvres, livres riches

– Galerie Patrick Varnier, Paris
– ACI de l’Yonne (Artistes contemporains Icaunais)
– ARTPARIS, Galerie Tessa Herold
– “Cosmos”, Johnson et Johnson, Issy-les-Moulinaux
– ARTPARIS, Galerie Tessa Herold
– Galerie Pascal Lorain, Paris
– Editions:
– “Leberon”, avec le poète occitan Roland Pecout
– “Laisses de la mer trop tendre”, avec la poètesse Christine Givry
Ed. RLD, Paris

2009 – “Regards de peintres sur la nature”, Chapelle Saint Liberal, Brive, France dept.19
– “Dessin”, Galerie Abelard, Sens, France dpt.89
– Studio 23, Michery, dpt. 89
– Galerie Milenarts, Belgium “Invitation au voyage”
– “SoftArt”, Seoul, Korea
– Edition : Projet de livre sur l’œuvre de 130m2, du plafond du

Théatre de Lunéville (1998), Auteur:
Frédérique Villemur, Ed. Actes Sud.
2011

2013 – « Salah Stétié et les peintres », Musée Paul Valery, Sète.
– « Salah Stétié », Manuscrits et livres d’artistes,
Bibliothèque Nationale de France, François Mitterrand, Paris
– ArtParis, Grand Palais, Galerie Guillaume
– « Trente artistes en cause », Atelier Cantoisel, Joigny
– « Les livres de l’or pauvres », Château de Lucinges
– Ville de Troyes, Hôtel-Dieu-le-Comte, exposition permanente
de préfiguration de la “Cité du Vitrail”

2014  – Ville de Joigny, exposition du Cercle du Mont Cenis à l’Espace Jean de Joigny
– Galerie Caron Bedout, Villeneuve-sur-Yonne.
–  Les peintres et le vitrail, Centre international du vitrail, Chartres

2017 – Galerie Caron Bedout, Bourron Marlotte.

2018 – Paris, Galerie Guillaume
Exhibition of the gallery’s 15th anniversary

2019 – Exhibition : « AR(T)BRE »
Espace Phil’ARTS, Commune de Filière (74) France

1975 – Theater sets, with Gérard Garouste and Pilippe Starck, for David Rochline’s first play “À toutes les Gloires de France”.

1990 – Sens, plans for the garden of the Lycée Pierre et Marie Curie. Architect Didier Michelon, landscape-architect Louis Maunoury

1991 – Auxerre, works for the office of the President of the Conseil Général de l’Yonne. Architect Didier Michelon

1992 – Municipal Theater of Montpellier, sets for Gounod’s Faust, directed by Jean-Paul Lucet.

1991-1993 – Chartres, plan d’aménagement des jardins de la Cathédrale, architecte Guy Siefert

1994 – Paron, a monumental work for the Collège André Malraux. Architects Pierre Soria and Michel Dusolle

– Lyon-Gerland, works for the main hall of the main European office of Pasteur-Merieux-MSD. Architect Albert Constantin

– Le Mans, works for the Institut Supérieur des Matériaux. Architects Philippe Duverger and Daniel Saintagnan

1995 – Joigny, tapestry for the entrance hall of the Salle Claude Debussy, TISCA, SFP workshops. Architect Didier Michelon

1997 – Pont-Rémy, works for TDI

1998 – Lunéville, monumental paintings for the ceiling of the ceiling of the access gallery of the theater. Architect Guy Siefert. Architect in charge of lighting Yann Desforges

– Lyon-Ecully, project of a work for the laboratories of Police technique et scientifique. Architects Albert Constantin and Michel Remon

– Nancy, project of a ceiling for the renavation of the Gingko pharmacy on the occasion of the centennial of the Ecole de Nancy d’Art Nouveau., Architect Guy Siefert. Architect in charge of lighting Yann Desforges

– Baden-Württemberg, works for the Seniorenzentrum of Aidlingen. Architects Hans Peter Walhers and Franz Haibt

2001 – Project for works destine to decorate the office of the mayor of Joigny.
Architect Didier Michelon

2002 – Resident artist of the city of Lodève, for a free project to be displayed in an exhibition of his works in 2005

2003 – Tapestry for the Collège of St-Valérien, Conseil Général de l’Yonne (Tisca workshop). Architect Didier Michelon

2004 – Project of a work for the Trésorerie Générale du Rhône Lyon. Architect Albert Constantin

2005 – Tapestry for the Collège du Gâtinais in Burgundy, (Funded by the « un pour cent artistique »), “Phoebus”, Conseil Général de l’Yonne, Architect Didier Michelon

2006 – Stained glass windowss of the church of Bouzy in Champagne, using a revolutionary technique with neither metal or lead, for the first time anywhere in the world. Executed by Antoine Benoit Maser Glazier

2007 – Four works for the IES of Sens (Institut d’enseignement Supérieur),(funded by the « un pour cent artistique ») Conseil Général of the Yonne, Architect Didier Michelon

2009 – Stained glass (first phase: four out of twelve) for the restoration of the church of Ecueil. Technique devised by Antoine Benoit Master Glazier. Architect Pierre Weiler, Paris

2010 – Mock-up (45m²) for the chapel of the Collège St Joseph in Reims
– Project and four mock-ups for the stained glass windows of the church of Notre Dame Beaumont-les-Autels.
– A body of six works for the home of a Swiss collector

2012 – Execution of twenty-one stained glass windows of the chapel of the Collège St Joseph in Reims.

2017 – Execution of thirteen stained glass windows of the churche of Longuesse. Simon-Marq workshop and Fort Royal, Architect Pierre Weiler

2020 – Project of a stained glass window for the chapel of Turlande in Paulhenc (Cantal)
– Project of 5 stained glass windows for a private chapel at the Hospital, Saint-Cirgues-de- Malbert (Cantal)

  • Lauréat du Grand Prix International d’art contemporain de Monaco, 1987
  • Commandeur de l’Ordre du Croissant de la Grande Comore, 2011
  • Chevalier de l’Ordre des Arts et des Lettres, 2019

In the workshop

Discover Jean-Paul Agosti's workshop in video

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