Socquet Jeanne

Jeanne Socquet, born November 24, 1928 in Paris, is a French neo-expressionist painter and mosaic artist.

According to the will of her parents and against her desire to move towards painting, Jeanne Socquet, the eldest of four children, was placed in apprenticeship in 1945 leading to do a C.A.P. in sewing. At the age of 21, she left the family home, rented a modest room and gave lessons in a sewing school while being a student of drawing lessons at the City of Paris, at the Académie de la Grande Chaumière and then at the École nationale supérieure des beaux-arts in Paris.

Jeanne Socquet married in 1956 the architect Louis Seignon, whom she met at the École des Beaux-Arts. She supported him in his profession, traveled around Europe with him and visited many museums. They had a son born in 1957 whom she would raise alone after the death, in the 1960s, of her husband in a car accident.

From 1960, her painting turns to "old women", the marginalized, the lonely, the locked up in mental hospitals, those excluded from beauty. It is an important series of neo-expressionist portraits brushed, named, classified and located in the same way (like Amandine, no 11, Pavillon Charcot) whose formats, square, identical, are likely to reinforce the feeling of confinement.

Beyond these themes which are set out in the titles and announcements of exhibitions (Jeanne Socquet, peindre la solitude, La folie peinte par Jeanne Socquet), the faces of Jeanne Socquet, which are not without capacity to upset, to arouse uneasiness and compassion, offer Jean-Marie Tasset to see in these paintings "the neo-expressionist work which best expresses the unease of our society“.

Belonging to the militant group of women artists La Spirale founded in 1972 by Charlotte Calmis, Jeanne Socquet co-wrote with Suzanne Horer and published in 1973 a book entitled La Création étouffée, not devoid of audience and doubly analyzed as a feminist manifesto and a tribute to femininity in creation and sublimity, both mystical (Christine de Pisan), literary (Madame de Lafayette), scientific (Marie Curie) or artistic (Simone Mary).

Critical reception

"Jeanne Socquet is a painter to whom the history of art will give a special place, she is a painter for whom solitude is like an existential condition, a way of human condition - figurative painter whose work is highly expressive, and in which the painful expression takes shape and invites critical reflection. "- Jacques Leenhardt

"This painting that she does, I see that it is a very large painting. "- Marguerite Duras

"Thus Socquet strikes and throws on the canvas the dazed catatonic, the mentally deficient, the black schizophrenic and the blessed of early dementia. "- Armand Lanoux

“A strange, moving vision of these thick figures, embedded in banality, but caught as they are with their big hands in the lyrical swirls of an implacable painting. - Viviane Forrester.

"His characters are figures, incarnations of a certain human condition with his mythologies and metamorphoses [...] Thus, the painter discovers in his heart a new reality: his isolation is that of the lonely crowd, and paradoxically the Jeanne Socquet's introspection leads to a new realism. "- Jean-Marie.

"Between paintings, collages, boxes of all kinds, it's a world apart, a space of expression where the era no longer matters and has given way to the truth of faces, faces without masks dripping of colors and expressiveness. "- Bertrand Scholler


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