{"id":1319,"date":"2019-12-09T18:05:43","date_gmt":"2019-12-09T18:05:43","guid":{"rendered":"https:\/\/toto.denisgodefroy.fr\/?p=1319"},"modified":"2019-12-29T10:16:11","modified_gmt":"2019-12-29T10:16:11","slug":"essai-de-chronologie","status":"publish","type":"post","link":"https:\/\/denisgodefroy.fr\/en\/essai-de-chronologie","title":{"rendered":"Essai de chronologie"},"content":{"rendered":"

1949 \u2013 1964<\/strong><\/p>\n

Denis Godefroy na\u00eet \u00e0 \u00c9vreux, le 19 ao\u00fbt 1949, fils de Christiane Renaux (n\u00e9e en 1926) et de Pierre Godefroy (n\u00e9 en 1920). Il est l\u2019a\u00een\u00e9 de cinq enfants. Son p\u00e8re est peintre en lettres d\u00e9coratives et poss\u00e8de un atelier au 47, boulevard de du Jardin l\u2019\u00e9v\u00eaque \u00e0 \u00c9vreux. Peintre et m\u00e9lomane, il peint pour son plaisir et initie Denis, d\u00e8s son plus jeune \u00e2ge, au dessin, aux techniques picturales. De cet apprentissage, Denis Godefroy garde le souvenir de l\u2019atelier de son p\u00e8re, de la pr\u00e9paration de ses fonds \u00e0 la peinture Levi\u00a0; il garde l\u2019amour des couches que Pierre Godefroy aimait passer, pr\u00e9parer, du pon\u00e7age, de l\u2019odeur de t\u00e9r\u00e9benthine et des pastilles Zan Blacko\u00efd\u00a0!<\/p>\n

\u00ab I am a former child. I would have liked to keep the freshness of my childhood look. I kept in my eyes the paintings my father made and I remember very well the smell of his studio and the silence of the exhibitions he showed me.<\/em><\/p>\n

It is from all these conscious and unconscious imprints that my work has gradually been nourished. To exhibit in a school, for example, is to make this journey backwards again and to take for oneself the lessons of the children. \u00bb<\/em> D.G.<\/p>\n

Les vacances se passent sur la c\u00f4te normande, \u00e0 Jullouville, Saint Pair sur mer, Carolles et Saint-Jean le Thomas, cit\u00e9s baln\u00e9aires proches de Granville, lieux auxquels Denis Godefroy restera attach\u00e9 et qui inspireront sa peinture.<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

1965<\/strong><\/p>\n

A pupil of Desgranges, drawing teacher at the Lyc\u00e9e d'\u00c9tat d'\u00c9vreux, Denis thought about the teaching profession and prepared for the Claude Bernard school. He reads poetry and philosophy with passion.<\/p>\n

\u00a0<\/p>\n

1966<\/strong><\/p>\n

Premi\u00e8re exposition \u00e0 dix-sept ans, au 19, rue Charles Corbeau \u00e0 \u00c9vreux, avec Jean Pierre Morin \u00e9l\u00e8ve \u00e0 l\u2019\u00e9cole Boulle. Il expose cinq ann\u00e9es de travail\u00a0: aquarelles, huile, lavis et fusains. L\u2019\u0153uvre est figurative et une des toiles \u00ab\u00a0fleurs d\u2019automne\u00a0\u00bb est remarqu\u00e9e pour le bleu qui habitera largement sa peinture.<\/p>\n

\u00ab\u00a0Quand j\u2019\u00e9tais enfant je n\u2019aimais que le rouge. Je pensais que le bleu \u00e9tait une couleur servile. Je me suis toujours pos\u00e9 la question de savoir quel type de rapport j\u2019entretiens avec le bleu. Ce qui m\u2019int\u00e9resse dans les couleurs, c\u2019est leur impact musical<\/em>.\u00a0\u00bb D.G.<\/p>\n

He discovers Goya's etchings and the works of engravers who will influence him.<\/p>\n

\u00a0<\/p>\n

1968<\/strong><\/p>\n

Denis Godefroy asserts his taste for literature and music and creates the group Anathema with his brothers and friends.<\/p>\n

\"It is not to man that we cast anathema but to oblivion. So that a whole past buried in the unconscious can come to the surface of silence. There are moments when remaining silent is the prelude to perdition.\" <\/em>D.G.<\/p>\n

The group Anath\u00e8me offers a show \"Ecce Homo\" mixing poetry and music at the Maison de l'Europe in \u00c9vreux.<\/p>\n

\u00a0<\/p>\n

1969<\/strong><\/p>\n

He marries Martine Dionis.<\/p>\n

Denis Godefroy is a supervisor at the Coll\u00e8ge d'Enseignement Technique du B\u00e2timent in \u00c9vreux, which commissions him to produce 18 panels.<\/p>\n

The group Anath\u00e8me puts on the show \u00ab L'un dans l'autre \u00bb, a title borrowed from the poet Andr\u00e9 Breton, on texts by Allen Ginsberg and other poets of the beat generation \u00ab to wake us up from our lethargy \u00bb D.G.<\/p>\n

\u00a0<\/p>\n

1970<\/strong><\/p>\n

He exhibits in the old museum of \u00c9vreux with Pascal Pingault in May, then at the Loeffer gallery, 4, rue des \u00e9coliers in \u00c9vreux in October. He also exhibits in Sables d'Olonne.<\/p>\n

\u00ab The secret of art is to correct nature\" said Voltaire; I wish to clear beauty in the classical sense of the term in favour of the violence of the line. \u00bb<\/em> D.G.<\/p>\n

\u00a0<\/p>\n

1971<\/strong><\/p>\n

Exhibition of painters and photographers \"Tortures\" at the old museum of \u00c9vreux where 15 paintings and as many drawings are presented. The group Anath\u00e8me opens the exhibition with a performance for percussion, piano and voice on texts by Antonin Artaud.<\/p>\n

\u00a0<\/p>\n

1972<\/strong><\/p>\n

Naissance son fils Thibault.<\/p>\n

Accompagn\u00e9 du philosophe Michel Servi\u00e8re, il participe \u00e0 l\u2019exposition \u00ab Lumi\u00e8res de la main \u00bb \u00e0 la galerie d\u2019avant-garde C\u00e9cile Gaillot, 156, rue Eau de Robec \u00e0 Rouen. Dix-huit artistes sont rassembl\u00e9s parmi lesquels Zack, Soulages, Ivkovic. Il parle de l\u2019influence de Jackson Pollock et de la peinture am\u00e9ricaine et avoue son admiration pour Nicolas de Sta\u00ebl. Les usines Jeulin dirig\u00e9es par M. Casals, m\u00e9c\u00e8ne, lui commandent deux panneaux sur le th\u00e8me \u00ab Mouvement, envol et dynamisme \u00bb.<\/p>\n

\u00a0<\/p>\n

1973<\/strong><\/p>\n

Il participe au 7e<\/sup> festival d\u2019art actuel \u00e0 Rouen dans une exposition intitul\u00e9e \u00ab\u00a0Paysages coinc\u00e9s\u00a0\u00bb.<\/p>\n

\"Godefroy paints, paints the landscapes, stuck landscapes as he calls them. The horizon of his landscapes is more or less high, the meeting of the sky and the earth more or less clear. At their intersection, many things happen.<\/em> (\u2026)<\/p>\n

Nous rel\u00e8verons que Godefroy s\u2019oriente de plus en plus vers le figuratif que les titres de ses toiles Paysages coinc\u00e9 sans oxyg\u00e8ne<\/em>, Mouettes<\/em>, accentuent, figuration que l\u2019on pourrait appeler minimale ou, pourquoi pas, puisque l\u2019\u00e9pith\u00e8te revient symptomatiquement chez lui \u00ab\u00a0Coinc\u00e9e\u00a0\u00bb Deux m\u00e9diums \u00e0 cet effet\u00a0; la traditionnelle peinture \u00e0 l\u2019huile et la peinture glyc\u00e9rophtalique, lisse, brillante. Le travail autrefois inspir\u00e9 des p\u00e2tes \u00e9cras\u00e9es de Nicolas de Sta\u00ebl puis devenu plus gestuel se concentre tout en couleur. Tout se passe comme si d\u2019un Bazaine ou d\u2019un Pignon avait \u00e9t\u00e9 retenu\u00a0: la peinture est incarnation et qu\u00eate du r\u00e9el.\u00a0\u00bb<\/p>\n

Michel Servi\u00e8re in<\/em> \u00ab\u00a0Valeurs de Rouen\u00a0\u00bb, n\u00b02, 1973.<\/p>\n

\u00a0<\/p>\n

Seventeenth exhibition of the Union des Arts plastiques in Saint \u00c9tienne du Rouvray with Georges Breuil. The exhibition at the Estuaire gallery, directed by Yvon Gay in Honfleur, inaugurates the series of birds.<\/p>\n

\u00a0<\/p>\n

1974<\/strong><\/p>\n

Eighth festival of Art Actuel de Rouen where he exhibited alongside Daniel Authouart.<\/p>\n

\"Art in the company\" with Jean-Claude Pinchon, Tony Fritz-Vilar, Pierre Godefroy, Christian Sauv\u00e9. Exhibition at the gallery-bookshop l'Armiti\u00e8re Cr\u00e9ation de l'Arlequin, workshops for children and adults, 13 rue de l'\u00c9cole in Rouen.<\/p>\n

\u00a0<\/p>\n

1975<\/strong><\/p>\n

Denis Godefroy exhibits Alt\u00e9rations at the L'Estuaire gallery in Honfleur. Photography is an integral part of his work.<\/p>\n

\"The skeleton of the bird is only a mythical representation of the crucifixion of Christ\"<\/em> D.G.<\/p>\n

\u00a0<\/p>\n

The nudes in Alterations are bound. The Self-portraits are very violent. Marked by the writings of Ulrike Meinhoff, a member of the Baader Gang, and by her career, he does not hesitate to refer to them.<\/p>\n

\"Painting is a political and committed act\"<\/em>. D.G.<\/p>\n

\u00a0<\/p>\n

His works are exhibited at the FIAC (International Contemporary Art Fair) in Paris. Invited by Dany Bloch, director of the plastic arts space, he exhibited his works on paper in Villepariris, at the \"Foire de l'Estampe et du Multiple\".<\/p>\n

\u00a0<\/p>\n

1976<\/strong><\/p>\n

Denis Godefroy expose Bo\u00eetes<\/em> \u00e0 ARC 2, \u00ab L\u2019objet comme \u0153uvre d\u2019art \u00bb, dans le cadre de l\u2019exposition organis\u00e9e par le Mus\u00e9e d\u2019Art Moderne de la Ville de Paris et la Maison de la Culture de Rennes. Il expose au Grand Palais dans le cadre du salon \u00ab Grands et Jeunes d\u2019aujourd\u2019hui \u00bb.<\/p>\n

At this time, Godefroy met the writer Denis Roche who had just published the novel \"Louve Basse\" (Edition du Seuil, collection \"Fiction et Cie\").<\/p>\n

In Rouen, he decided, with musicians and visual artists, to create a show called \"Fragments I, Itin\u00e9raire d'un corps\" (Fragments I, Itinerary of a body) mixing extracts from \"Louve Basse\" and texts by Ulrike Meinhoff and Bernard Govy.<\/p>\n

Alain Mabitt's music is used as a support for an 'Action paintaing'. Extracts from this show were broadcast on 2 June 1977 in the programme \"\u00c9coute\" on France Musique.<\/p>\n

That same year, he was the guest of Dany Bloch at Unesco, Paris. In October, he begins his weekly interventions in the expression workshops set up at the MGEN day hospital.<\/p>\n

\u00a0<\/p>\n

1978<\/strong><\/p>\n

In April, and for twenty years, Denis Godefroy will intervene in the psychiatric world, half a day a week, in an expression workshop set up at the Centre Hospitalier Psychiatrique du Rouvray in Sotteville les Rouen. With his friends, philosophers, painters and sculptors, and the lawyer Jean-Claude Ducable, the artist opens an associative gallery, D\u00e9clinaisons, on rue de l'\u00c9cole in Rouen. He exhibited his Self-portraits there. Autoportraits<\/em>.<\/p>\n

\u00c0 Paris, au salon de Mai, il c\u00f4toie Jo\u00ebl Kermarrec Le Poids de la peinture<\/em> mais aussi Sonia Delaunay Rythme \u2013 Couleur<\/em>, Hartung T 1971 H 19<\/em>, L\u00e9on Zack Peintures 78 et Otto Teichert. Comme l\u2019ann\u00e9e pr\u00e9c\u00e9dente, il expose au Salon \u00ab Grands et Jeunes d\u2019aujourd\u2019hui \u00bb.<\/p>\n

\u00a0<\/p>\n

1979<\/strong><\/p>\n

\u00ab Grands et Jeunes d\u2019aujourd\u2019hui \u00bb l\u2019accueille \u00e0 nouveau avec Paroles blanches ; Petits paysages<\/em>, s\u00e9rie o\u00f9 des photographies d\u2019inondation disparaissent, voil\u00e9es par la peinture.<\/p>\n

He then exhibited with Alain Lambilliote, Lionel Godart and Guy Chaplain, in Rouen, at the D\u00e9clinaisons gallery.<\/p>\n

\u00a0<\/p>\n

1980<\/strong><\/p>\n

It is the explosion of free figuration. He is present in Paris at the Salon de Mai, and at the D\u00e9clinaisons gallery. The International Biennial Exhibition of Portraits (Yugoslavia) welcomes him.<\/p>\n

\u00a0<\/p>\n

1981<\/strong><\/p>\n

Godefroy ouvre son atelier au 67, rue Bouvreuil \u00e0 Rouen. Il entre alors dans une p\u00e9riode de changement. Son travail \u00e9volue vers une d\u00e9marche plus abstraite. Il commence sa S\u00e9rie noire <\/em>qu\u2019il expose \u00e0 la galerie D\u00e9clinaisons, Rouen.<\/p>\n

It is a grey that has the appearance of black<\/p>\n

\u00ab\u00a0Denis Godefroy's black canvases, this photographic paper glued and then covered by the material, are devoid of the nameable figures of reality. All that remains of the classical idea is the frame. The sensation of inhabiting an enigmatic space.<\/em>\u00a0\u00bb<\/p>\n

Extrait du texte d\u2019Eric Vandecasteele, accompagnant l\u2019exposition<\/p>\n

\u00a0<\/p>\n

1982<\/strong><\/p>\n

Sa s\u00e9rie Minoirs<\/em> est pr\u00e9sent\u00e9e dans le cadre de \u00ab Confrontations-G\u00e9n\u00e9rations \u00bb \u00e0 Tours. Cette exposition donne lieu \u00e0 de multiples d\u00e9bats dans le cadre du colloque Art m\u00e9dia.<\/p>\n

Invit\u00e9 \u00e0 nouveau par Dany Bloch \u00e0 la foire de l\u2019Estampe et du Multiple, il expose S\u00e9rie Noire<\/em>, travaux sur papier, \u00e0 Villeparisis.<\/p>\n

He participated in the exhibition \"Citations critiques 1978-1982\" at the D\u00e9clinaisons gallery, which in the same year organised the exhibition \"Du livre\" with the Mus\u00e9e des Beaux-Arts de Rouen, the first national exhibition devoted to artist's books.<\/p>\n

\u00a0<\/p>\n

1983<\/strong><\/p>\n

Denis Godefroy expose les Minoirs<\/em> \u00e0 la galerie Fran\u00e7oise Palluel \u00e0 Paris, rue Quincampoix.<\/p>\n

Denis Godefroy's ethics are based on a triple renunciation: renunciation of colour, which is sensuality, of the line, whose accents are the expression of an individual sensitivity that the ascetic approach intends to master, and of figuration, since appearance is only a mask plastered on the \"true reality\", which alone deserves attention. Here we pass from art to the art of living. To an art of living with little. Going back in time, it is the ethics of the monks of Citeaux (12th century) which is now of some help to us. Cistercian Godefroy?<\/em>\u00a0\u00bb<\/p>\n

Georges Duby, Soulages<\/em>, Cahiers du MNAM, 1981-1983<\/p>\n

\u00a0<\/p>\n

1983 \u2013 1985 <\/strong><\/p>\n

Denis Godefroy is invited to the Internationaler Kunstmarkt, Cologne (Germany), an exhibition organised with the support of the French Ministry of Culture, whose brochure includes texts by Gilbert Lascaux, Michel Servi\u00e8re and Eric Vandecasteele.<\/p>\n

\u00a0<\/p>\n

1984<\/strong><\/p>\n

He marries Pascale Vallois.<\/p>\n

Birth of his daughter Ya\u00ebl.<\/p>\n

Il expose au 29e<\/sup> salon d\u2019art contemporain de Montrouge qui rend hommage \u00e0 Otto Dix et rassemble 350 artistes. Le catalogue s\u2019enrichit d\u2019une quarantaine de photographies des peintres les plus repr\u00e9sentatifs sur le plan national et international. Cette m\u00eame ann\u00e9e, Denis Godefroy expose ses Nouvelles vagues<\/em> \u00e0 la galerie Fran\u00e7oise Palluel, Paris, \u00e0 la galerie D\u00e9clinaisons de Rouen, \u00e0 la Grande Serre \u00e0 Rouen (avec une ouverture musicale de Karl Biscuit).<\/p>\n

New collaboration of the D\u00e9clinaisons gallery with the Mus\u00e9e des Beaux-Arts de Rouen for the exhibition \"Contemporary Photography\".<\/p>\n

\u00a0<\/p>\n

1985<\/strong><\/p>\n

Opening of the studios at 317, route de Darn\u00e9tal in Rouen, which Denis Godefroy shares with the painter Jean-Pierre Bourquin and the sculptor Guy Chaplin.<\/p>\n

He is invited by Fran\u00e7oise Palluel to the FIAC. The FRAC (Fonds R\u00e9gional d'Art Contemporain), which acquired a painting by Denis Godefroy in 1983, organises an exhibition \"Un certain paysage\" with the Ch\u00e2teau-mus\u00e9e of Dieppe, of which Pierre Bazin is the curator. This exhibition gathers a selection of the permanent collections of the FRAC of Haute Normandie and the Ch\u00e2teau-mus\u00e9e of Dieppe. Among the other painters : Jean-Pierre Bourquin, Olivier Debr\u00e9, Christian Sorg, Pierre Tal Coat and Roger Tolmer.<\/p>\n

In October, at the Centre Marc Sangnier, the painter will share a musical experience with jazz musician Steve Lacy and singer Ir\u00e8ne Aebi by performing a work during a concert.<\/p>\n

Denis Godefroy pr\u00e9sente ses \u0153uvres \u00e0 Marianne Requenna et Jean-Pierre Bourquin au ch\u00e2teau d\u2019Aveny, en Normandie, espace d\u2019art contemporain, sorte de r\u00e9trospective dont il reste des traces photographiques sign\u00e9es Jean-Claude Bellegou. Fran\u00e7oise Palluel expose des \u0153uvres interm\u00e9diaires entre les Vagues<\/em> et Nuits d\u2019\u00e9bauche<\/em>.<\/p>\n

\u00a0<\/p>\n

1986<\/strong><\/p>\n

Exposition chez Simone Lhermitte, rue Bras-de-Fer \u00e0 Rouen, o\u00f9 sont pr\u00e9sent\u00e9es ses deux grandes toiles, Nuits d\u2019\u00e9bauche<\/em> et une s\u00e9rie de croquis, d\u2019esquisses et de peintures sur des papiers de petit format.<\/p>\n

He also participated in the FIAC and the Montrouge Contemporary Art Fair and took part in the first S\u00e8te Contemporary Art Festival.<\/p>\n

Denis Godefroy expose Petits dessins impromptus<\/em> \u00e0 la librairie l\u2019Armiti\u00e8re de Rouen. Cette m\u00eame ann\u00e9e, il participe avec l\u2019organiste Louis Thiry, \u00e0 un concert-performance, \u00ab\u00a0L\u2019art de la fugue en peinture\u00a0\u00bb, en l\u2019\u00e9glise Saint Taurin d\u2019\u00c9vreux.<\/p>\n

\u00a0<\/p>\n

1987<\/strong><\/p>\n

Birth of his daughter Sol\u00e8ne.<\/p>\n

A book entitled \"Nuits d'\u00e9bauche\" reviews ten years of production with texts by Robert Carmyne and Jean-Claude Th\u00e9venin.<\/p>\n

Godefroy succeeds in the challenge of showing us that black can be, like the traditional diaphanous, his medium of coloured appearance and paradoxically the transparent medium where appearances appear. It is the work in black...<\/p>\n

Jean-Claude Th\u00e9venin<\/p>\n

\u00a0<\/p>\n

\u00ab\u00a0Nuits d\u2019encre<\/em> et Nuits d\u2019\u00e9bauche<\/em>\u00a0\u00bb\u00a0: cette s\u00e9rie de \u00ab\u00a0Nuits\u00a0\u00bb est faite de variations de noirs, de gris, de mats profonds, m\u00e9langes de mati\u00e8res t\u00e9n\u00e9breuses encrass\u00e9es de graphite et de plomb qu\u2019il applique au pinceau, au tampon, \u00e0 la main et qui forment un ciel opaque travers\u00e9 d\u2019\u00e9claircies bleues, ocres, blanches.<\/em>\u00a0\u00bb<\/p>\n

Robert Carmyne.<\/p>\n

\u00a0<\/p>\n

1988<\/strong><\/p>\n

The FRAC de Haute-Normandie presents the exhibition \"Un certain paysage\" in Holte and Randers (Denmark), where Denis Godefroy's works rub shoulders with those of Jean-Pierre Schneider, Joan Mitchell, Christian Sorg, Pierre Talcoat, Olivier Debr\u00e9...<\/p>\n

He is always present at the FIAC with the Fran\u00e7oise Palluel gallery.<\/p>\n

\u00a0<\/p>\n

Denis Godefroy loses his daughter Sol\u00e8ne.<\/p>\n

He works on a whole series of Plexiglas and marbles which he presents in the Salle des Procureurs of the Palais de Justice in Rouen. The exhibition \"EPOKE\" brings together Jean-Claude Pinchon, Lionel Godart and Jean-Pierre Bourquin.<\/p>\n

Each artist having carte blanche, Denis Godefroy chose to invite Andriana Cavalletti who writes in the introduction to the catalogue \"The balance between the carnal and the spiritual is what interests me\".<\/p>\n

\u00ab\u00a0If I use Plexiglas, it is not for the effects of the material, but for the work on layers and transparencies. Plexiglas functions as a metaphysical layer.<\/em>\u00a0\u00bb. D.G.<\/p>\n

\u00a0<\/p>\n

1989<\/strong><\/p>\n

\"Morceaux choisis\" organised by the FRAC presents a selection of the 1983-1988 acquisitions in Rouen. This selection includes, along with Denis Godefroy, Jacques Mayeux, Edouard Pignon, Guy Chaplain, Vincent Barr\u00e9, Jo\u00ebl Kermarrec, Alain Lambilliotte... Returning to his literary and musical preoccupations, he adapts Gregory Corso's essay \"Elegiac feelings American\" (Christian Bourgois - 1977).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \"Looking at Le Carpaccio...<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Looking at all this death, immobile and stratified<\/p>\n

I will go under your gallops, it is undoubtedly the desperate tumult of a chivalrous joust, of light, of darkness, of writing and of song\"<\/p>\n

This show, which brings together, in addition to the painter, a musician, Jeff Richard, a dancer, Gis\u00e8le Gr\u00e9au, and an actor, Maxime Leroux, is produced by the Centre d'Art d'Essai et de Cr\u00e9ation Marc Sangnier, in Mont-Saint-Aignan.<\/p>\n

It is followed by an exhibition \"J'irai sous tes galops\" in Paris, at the Fran\u00e7oise Palluel gallery.<\/p>\n

\u00a0<\/p>\n

1990<\/strong><\/p>\n

He marries Elisa Picot.<\/p>\n

\u00ab\u00a0Vague \u00e0 l\u2019arbre<\/em>\u00a0\u00bb, au ch\u00e2teau-mus\u00e9e de Dieppe\u00a0: exposition r\u00e9trospective des dessins de paysage du peintre et des performances Nuits d\u2019\u00e9bauche<\/em> (1985) et J\u2019irai sous tes galops<\/em> (1989).<\/p>\n

\u00ab\u00a0\"My work is to organise chaos. The landscape is only organised nature. Imagine a tree standing out against a sky. In painting there are two solutions: either you focus on the tree or the sky. My work consists of filling the void and emptying the full.\"<\/em>\u00a0\u00bb D.G.<\/p>\n

\u00a0<\/p>\n

Nature, Life, Love, Death... to specify would be reductive: everything that is felt, understood, endured, lived, loved, suffered, the artist, with as much modesty as pride, will see it projected outside himself because of a certain relationship of forms and forces. Project, design, drawing.<\/p>\n

Pierre Bazin<\/p>\n

\u00a0<\/p>\n

1991<\/strong><\/p>\n

It was a year rich in exhibitions and events. Publication of a monograph by \u00c9ditions M\u00e9diane directed by Jean-Marie Tiercelin, co-authored by Gilbert Lascaux, Philippe Bataille and Guy Lauzun.<\/p>\n

\u00ab\u00a0At the time, he made black a colour and this colour a sacrifice. Today, from his miraculous fishing and by dint of asceticism, he has brought back other signs, other prints, and other metals. After demonstrating black, he has rediscovered the golds of Siena, the primordial reds and blues. It is a painting against a backdrop of wild power, moving like the alignments of Carnac or the Orants of ten centuries ago.<\/em>.\u00a0\u00bb<\/p>\n

Philippe Bataille; Ombilic des Gaules a monograph, \u00c9d.M\u00e9diane.<\/p>\n

\u00a0<\/p>\n

Exhibitions at the Anne Bourdier gallery in Rouen and at Fran\u00e7oise Palluel and Tadeuz Koralevski, in Paris. He also participates in the \"D\u00e9couverte\" exhibition at the Grand Palais.<\/p>\n

\"I always start from the drawing, it is there that one is in the most radical danger possible. It is there that the hand acquires a memory: it is not only the written word that has one.<\/p>\n

Painting is an act, I try to be sincere with what I can't find. It's like the craftsman's pot: the surface is made for what the pot will contain. Painting is the same: I call it the implicit, the implicit that I would not like to see too quickly deflowered. There must remain a part of the unfathomable in painting.\"<\/em>\u00a0\u00bb.<\/p>\n

D.G., 1991. Extract from an interview with Roger Balavoine.<\/p>\n

Au 2e<\/sup> At the 2nd Salon d'Art Contemporain de Rouen, Denis Godefroy is present in \"Portrait d'une collection\" which gathers paintings by an anonymous collector: Picasso, Poliakoff, Dubuffet, Gleize, Debr\u00e9, Pincemin, Schneider, Combaz, Priser, Pinchon...<\/p>\n

He exhibits Kalejdoskop Zaprasza with the Association Aestetica Nova, Miejska Lodz Gallery (Poland) and participates in \"Artists for Freedom\", organised by Amnesty International Rouen.<\/p>\n

\u00a0<\/p>\n

1992<\/strong><\/p>\n

Birth of his son Louis.<\/p>\n

As a continuation of the \"D\u00e9couverte 1991\" exhibition, Tadeuz Koralewski presents a group exhibition, \"Pr\u00e9ludes\". At the same time, the gallery Lise et Henri de Menton, 4, rue du Perche in Paris, presents a dozen Boucliers. Works from this same series had previously been exhibited at the Rouen Salon (Regional Council Prize) and by Yves Richard at the Orangerie Gallery in Grand-Couronne. Boucliers<\/em>. Des \u0153uvres de cette m\u00eame s\u00e9rie avaient \u00e9t\u00e9 expos\u00e9es auparavant au Salon de Rouen (Prix du Conseil R\u00e9gional) et par Yves Richard, \u00e0 la galerie de l\u2019Orangerie de Grand-Couronne.<\/p>\n

\u00ab\u00a0Godefroy est une brute parfois tendre : quand il fait subir les pires avanies aux supports qu\u2019il utilise, il ne peut s\u2019emp\u00eacher de panser leurs plaies d\u2019un trait d\u00e9licat ou d\u2019une p\u00e2te pleine et nourrie au graphite. Les dessins et la dizaine de \u00ab Boucliers \u00bb, papiers maroufl\u00e9s et toiles, qu\u2019il montre aujourd\u2019hui confirment un sacr\u00e9 temp\u00e9rament r\u00e9v\u00e9l\u00e9 il y a pr\u00e8s de dix ans par sa superbe s\u00e9rie<\/em> \u00ab\u00a0Minoirs\u00a0\u00bb<\/em>.\u00a0\u00bb<\/p>\n

Le Monde, 31 December 1992.<\/p>\n

\u00a0<\/p>\n

1993<\/strong><\/p>\n

Denis Godefroy garde toujours en m\u00e9moire ce que son p\u00e8re lui a transmis. Il expose avec lui, dessins et aquarelles, \u00ab\u00a0De part et d\u2019autre\u00a0\u00bb \u00e0 la galerie Dubosc \u00e0 Louviers. Le peintre entame une nouvelle s\u00e9rie Les S\u00e9maphores<\/em>, carr\u00e9s bleus, \u00ab\u00a0des tableaux pour faire signe<\/em>\u00a0\u00bb. D.G.<\/p>\n

He shows his works at the Ch\u00e2teau de Belbeuf belonging to AXA, an exhibition organised for the benefit of the Departmental Committee of the League against Cancer. He is always present at the FIAC, with the Fran\u00e7oise Palluel gallery.<\/p>\n

\u00a0<\/p>\n

1994<\/strong><\/p>\n

Denis Godefroy accompagn\u00e9 de son fr\u00e8re Gene Clarksville et de S\u00e9bastien Souchois se produit dans un spectacle toujours inspir\u00e9 par les textes de Gregory Corso au Centre Marc Sangnier de Mont-Saint-Aignan.<\/p>\n

The Duchamp Gallery, directed by Thierry Heynen in Yvet\u00f4t, presents two performance concerts, two works painted by Denis Godefroy to music by composer Jean-Yves Bosseur with Jacques Feuillie on bass and Emmanuel Thiry on double bass.<\/p>\n

\u00ab\u00a0There is music in literature, there is also painting in literature and no doubt vision in music... It is the mixture of three extremely fabulous things that makes... it makes art\u00a0<\/em>\u00bb<\/p>\n

\u00a0<\/p>\n

He takes part in another concert organised in collaboration with the FNAC: three groups, three visual artists at Exo 7, Petit-Quevilly. Bergit von Keller is on cello and Bob Drewry on double bass.<\/p>\n

\u00ab\u00a0Does a painter hear music when he paints, does a musician have images when he composes?\u00a0<\/em>\u00bb<\/p>\n

\"In art, it's all about punctuation... the important thing in a performance is not the finished product but the path that leads to it.\" D.G.<\/p>\n

Encore de la musique avec \u00ab\u00a0Concert pictural\u00a0\u00bb \u00e0 Ch\u00e2teau Cadillac en Fronsadais, invit\u00e9 par Jean-Jacques Lesgourgues, son collectionneur le plus fid\u00e8le. Gene Clarksville et S\u00e9bastien Souchois l\u2019accompagnent. L\u2019\u0153uvre Crucifixion<\/em>, d\u00e9sormais maroufl\u00e9e sur toile, est aujourd\u2019hui au ch\u00e2teau.<\/p>\n

He exhibits \"Past present, future\" at the Fran\u00e7oise Palluel gallery.<\/p>\n

The Du Bellay gallery in Mont-Saint-Aignan exhibits him in \"Bleu nuit, nuit bleue\" with Serge P\u00e9richon photographer and Dominique Denry sculptor.<\/p>\n

\u00ab\u00a0The idea is to capture the flight of angels. I've been dreaming of this meeting for a long time...<\/em>\u00a0\u00bb. D.G.<\/p>\n

\u00a0<\/p>\n

\u00c0 l\u2019initiative du SIVOM, une commande lui est pass\u00e9e pour le M\u00e9tro-bus de Rouen, station \u00ab\u00a0Th\u00e9\u00e2tre des Arts\u00a0\u00bb\u00a0: deux panneaux Les Ang\u00e9liques<\/em>.<\/p>\n

\u00ab\u00a0The debate between abstraction and figuration annoys me so much that it is like the search for the sex of the angels. That must be why it is called 'Les Ang\u00e9liques'. Moreover, they are bitter plants when fresh and sweet when candied\u00a0<\/em>\u00bb. D.G.<\/p>\n

\u00a0<\/strong><\/p>\n

1995<\/strong><\/p>\n

The Salon de Rouen et de Normandie, 1995 edition, organised with the participation of the Conseil G\u00e9n\u00e9ral de la Seine-Maritime, welcomes him to the Halle aux Toiles.<\/p>\n

La galerie Fran\u00e7oise Palluel pr\u00e9sente Les Ang\u00e9liques<\/em>, \u0153uvres sur papier et petits formats, avec Pincemin, Bourquin, Schling, Bosser, Souli\u00e9 et Taboada\u2026 Il est pr\u00e9sent \u00e0 Toulouse dans l\u2019exposition \u00ab\u00a0Regard d\u2019un collectionneur\u00a0\u00bb.<\/p>\n

Jean-Marie Gille and \u00c9ric de Falco create with the painter a philosophy caf\u00e9 in Bonsecours.<\/p>\n

\u00a0<\/p>\n

1996<\/strong><\/p>\n

Deux expositions\u00a0: Les Ang\u00e9liques<\/em> au Clo\u00eetre des P\u00e9nitents \u00e0 Rouen o\u00f9 il r\u00e9alise une performance avec son fr\u00e8re Gene Clarksville\u00a0; \u0153uvres r\u00e9centes \u00e0 la galerie Fran\u00e7oise Palluel, Paris.<\/p>\n

Le ch\u00e2teau-mus\u00e9e de Dieppe organise autour du d\u00e9p\u00f4t du fonds r\u00e9gional d\u2019art contemporain, une exposition intitul\u00e9e \u00ab\u00a0Terres, ciels et toujours la mer\u00a0\u00bb.<\/p>\n

Elles sont suivies d\u2019une exposition chez Fran\u00e7oise Palluel, intitul\u00e9e \u00ab\u00a0Papiers en libert\u00e9\u00a0\u00bb \u00e0 Petit-Couronne, il est accueilli avec Jean-Pierre Bourquin, Francis Caudron, Jean-Claude Pinchon, Ronel, et Tran Van Rinh, dans le cadre des \u00ab\u00a0Aspect de la peinture contemporaine\u00a0\u00bb.<\/p>\n

Denis Godefroy shared with Jean-Pierre Bourquin and Guy Chaplin, a studio located on the banks of the Robec, route de Darn\u00e9tal in Rouen. In April 1995, a letter announced that the premises had to be vacated of goods and people by 30 April at the latest. \"My anger is the beauty of the site and the absurdity of the situation,\" exclaims Godefroy, who refuses to leave the premises.<\/p>\n

\u00ab\u00a0I have a lot of students and if this place disappears, that's it for them. I am also involved in therapeutic and psychiatric work with support painting. I also take on children... If this place collapses I won't be the first victim. These workshops are the memory of a vanished industrial civilisation.<\/em>\u00a0\u00bb D.G.<\/p>\n

\u00a0<\/p>\n

1997<\/strong><\/p>\n

Denis Godefroy died of an aneurysm on 24 January 1997.<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

From \u00ab Denis Godefroy (1949-1997) \u00bb, France, Somogy \u00c9ditions d\u2019Art, 2003, p.183-189.<\/p>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":533,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/denisgodefroy.fr\/en\/wp-json\/wp\/v2\/posts\/1319"}],"collection":[{"href":"https:\/\/denisgodefroy.fr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/denisgodefroy.fr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/denisgodefroy.fr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/denisgodefroy.fr\/en\/wp-json\/wp\/v2\/comments?post=1319"}],"version-history":[{"count":6,"href":"https:\/\/denisgodefroy.fr\/en\/wp-json\/wp\/v2\/posts\/1319\/revisions"}],"predecessor-version":[{"id":1539,"href":"https:\/\/denisgodefroy.fr\/en\/wp-json\/wp\/v2\/posts\/1319\/revisions\/1539"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/denisgodefroy.fr\/en\/wp-json\/wp\/v2\/media\/533"}],"wp:attachment":[{"href":"https:\/\/denisgodefroy.fr\/en\/wp-json\/wp\/v2\/media?parent=1319"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/denisgodefroy.fr\/en\/wp-json\/wp\/v2\/categories?post=1319"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/denisgodefroy.fr\/en\/wp-json\/wp\/v2\/tags?post=1319"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}