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Orival - Exhibition at the Hotel de Ville
Goss shows 40 years of his Paintings

Jean-Luc Gosse has recently dropped his first name and the final e of his surname, but he is still a child of this region, come to celebrate the 40th anniversary of his career as a painter in the village of his childhood.
Eventhough he has gone to live his life as an artist in the Cahors region he remains attached to his roots in Normandy, and he hasn’t forgotten those who cared for him in his youth, and who like the painter Michel Lecomte for example, gave him a solid base which allowed him to carry out his work so well. It is why he particularly wanted to give a favourable response to the invitation from the Orival community who suggested to him that he exhibit his work for a week at the town hall. Having himself enjoyed revisiting his earlier paintings he thought that, where Orival was concerned, all those who appreciate his work would also enjoy them. The piece Tout ank amon (1975) already works with all the nuances of reflections the artist favours. It is followed nearby with

Main (Hand) (1976) worked in the style of an engraving despite the fact that Goss had never done any engraving. Then Le temps n’est rien (Time is nothing) worked in pencil (softer than oil paint perhaps) which illustrated in its time the poem Demure Alluviale by his old friend, the poet Luis Porquet. This was during the time of Goss’s first exhibitions with Gerard Gantois or Michel Lecomte. Some people define his work as “hyperrealist”.

Goss defends his viewpoint. His work, which is very subtle, goes well beyond that technique. In it he mixes his dreams, his interior universe, and many symbols that sometimes speak only to him. Aspects of nature near his home, and country lanes are also themes which are dear to his heart. Neighbours to the lanes – routes needed for travel – are three vintage cars. Chevrolet Bel Air 1957, Buick 1950 and Chevrolet Deluxe 53 in which there is a play of many reflections, recalling those in Tout Ank Amon which hangs facing them, as well as particular details in abstract painting. These cars are a product of the completely new technique developed by the artist: a composition painted on metal strong enough to be exhibited outdoors. First acrylic, then oils and varnish.
Visitors seduced by the artist’s work.

The people represented in Goss’s canvasses are often actor or musician friends who arrive at his house with a trunk-full of costumes
they can change into before posing. Theatre and Music play a large role in the life and work of the painter.
Goss also takes commissions. They can be portraits but are also subjects of the artist’s choosing, probably supplemented by a conversation with the purchasers. So, several commissioned works were lent to him by these clients to enrich this retrospective in Orival.
If the simple admirers from the past have gained some wrinkles down the years, the artist’s works have none; they have kept their original freshness.
Exhibition at Orival town hall until 15th October every day from 14.00 to 18.00

   Buick 1950
   Oil on Metal
   38 x 61 cm
   2009

Oil painting on metal

I am primarily a studio painter and I have long preferred to paint on a canvas which had been glued to wood rather than a canvas stretched on a frame. I like the comfort of a rigid support. More recently I have found that metal and composite resin supports are perfectly suited to my new experiments with oil techniques and the very specialised varnishes that I use. This process allows me to make paintings of an extremely high quality with a very beautiful finish.

   Chevrolet Bel Air 1957
   Oil on Metal
   38 x 61 cm
   2009

chevrolet

   Chevrolet Deluxe 1953
   Oil on metal
   38 x 61 cm
   2009

vernis

montauban

Exterior Printing
“Techni-Print”
Montauban - 2001
20 m2 - 5 x 4 m

Outdoor Mural Painting

During the 1990s, having tested and retested various combinations of varnish, pigment, primers and other media, I developed an interest in addressing the challenge of producing fine art oil paintings which could be exhibited outdoors. I am interested in modern painting techniques like acrylic painting which was invented in Mexico in the middle of the 20th century by chemists in the National Polytechnic Institute of Mexico, and was made famous, in particular by the monumental mural paintings of the celebrated artist Diego Rivera. The Mexican mural painters who painted directly onto walls and the invention of acrylic paint were a tremendous advance in outdoor painting. I am also interested in the varnishing techniques used in the automative industry as well as the very refined technique of Chinese lacquer. I was looking for supports and products capable of withstanding weathering. All of this research helped me to refine my own process.

In 2009, I developed a change in my technique by superimposing my oil painting method onto an acrylic paint base. In this way I have discovered a process which is both sturdy and very pleasant to work with, both while modelling the paint and applying glazes and it has remarkable drying times. These elements combine very well with my anti-UV varnishes. So I can now produce paintings on metal or composite resin supports with an impeccable finish. My paintings can be exhibited outdoors for years equally as well as indoors and in any format.

Monumental fine art paintings on metal

I have chosen to paint my subjects on panels which are both solid and lightweight so that I can carry out my work in the studio without the constraints of painting on site such as rain, heat or wind. Having painted the subject, I can use specific anti-UV varnish which cannot be used on paintings on canvas. In this way I have the most comfortable working conditions and can produce work of an ideal quality. Once the panels are varnished they are assembled on rails or an invisible and secure fastening system with no apparent screws or bolts. No mater what size the painting is, once it is in place, it can be washed with high powered water jets and will tolerate all types of anti-graffiti detergents.

atelier

If oil painting techniques have evolved, using metal as a support has more or less disappeared. Studio painters in the past mostly painted on wood then much later this was replaced by canvas stretched on frames; mainly to facilitate painting in the open air on a light support.

atelier

Oil painting has benefited from an enormous heritage. Since it was swiftly adopted by the Flemish masters and then by the greatest painters throughout the world, it has become “the” preferred technique over the centuries.

From its inception, the technique of painting in oils revolutionised painting because of its chromatic richness, durability and adaptability. Oil painting on metal is not a recent invention. From the middle of the 14th century artists were already painting in oils and sometimes they painted on sheets of copper. While the Flemish painter Jan Van Eyck was largely responsible for the evolution of this technique in 1410, by dissolving colours in nut or linseed oils, we now know that the Romans painted decorative works using oil paints.

Interior Monumental Painting

Initially I used only oils in my large format mural paintings which forced me to confine my work to interior projects.

Following an in depth study of the location, I draw up the initial studies and a 1/10th to scale model of the painting. The angles of certain walls and locations lend themselves to effects such as “trompe l’oeil”, anamorphosis and other visual illusions which allow me to customise the work in a way that gives visual suprises. Once the scale model is accepted the preparation work can begin. On sound walls of cement, plaster or wood a preparatory coat of primer reinforces the adherence of two layers of a special coating which are applied next. Then, after a light sanding, the preparatory drawing is done in blue pencil. Following this, the oil painting is completed with paintbrushes using the same technique as that used in the studio on canvas. After a drying period of several months; which is required for the longevity of the work, two coats of a very resilient varnish for paintings are brushed on. An oil painting of this quality can be cleaned occasionally with a soft, damp cloth.

ouge

My new technique on metal panels can also be adapted perfectly to interiors. Even in a damp environment like a bathroom or swimming pool.

The Techniques of the Grand Masters

More than thirty years ago now, I studied the techniques of the old Grand Masters in the Louvre Museum in Paris. The Louvre made available to me the original paintings of the Great Artists like Jean-Francois Millet, Reynolds & Jean-Francois Boucher.

I also studied Gustave Moreau’s body of work in his amazing “Studio Museum” at 14 rue de La Rochefoucauld, where he lived in Paris. Gustave Moreau (1826 – 1898) painted in large formats and was one of the most prestigious symbolic painters. His themes, which were drawn from mythology, provided him with the pretext for expressing the aspirations of his personal ideology in his paintings.

Large Formats

In 1974, I began my career as a scene painter in the mythical studios of Publidecor at Montreuil, where I made hundreds of paintings for cinemas. These very large canvasses, which were painted in vinyl paint, were shown every week on the front facades of cinemas on the main thoroughfares of Paris. This first experience was decisive, and initiated my desire to paint in large formats. In the studios of Montreuil my apprenticeship was enhanced by the invaluable advice of two artists who were winners of the “Prix de Rome”.

For several years, my practice as a visual artist-painter has led me to produce, besides my production of paintings on the easel, a certain amount of mural paintings, commissioned by various individual or corporate clients. This work, so far, has involved “trompe l’oeil”, decorative frescoes and monumental paintings.	All rights reserved Goss – Artist - Painter
Little by little this work has oriented my practice towards an increasing consideration of space as such (patio, mezzanine, loft, corporate entrance hall, building facade) but also of volumes like ceiling height, openings, the way the furniture is arranged, colour harmonies, textures of materials as well as the existing decor.
My current approach emphasises the enhancement of the space by introducing modular painting supports: fixed or mobile panels, sliding partitions, screens ... in given locations.




Screen Painting – 190x320cm – (Private Collection – Avenue Marceau – Paris)

Outdoor Mural Painting During the 1990s, having tested and retested various combinations of varnish, pigment, primers and other media, I developed an interest in addressing the challenge of producing fine art oil paintings which could be exhibited outdoors. I am interested in modern painting techniques like acrylic painting which was invented in Mexico in the middle of the 20th century by chemists in the National Polytechnic Institute of Mexico, and was made famous, in particular by the monumental mural paintings of the celebrated artist Diego Rivera. The Mexican mural painters who painted directly onto walls and the invention of acrylic paint were a tremendous advance in outdoor painting. I am also interested in the varnishing techniques used in the automative industry as well as the very refined technique of Chinese lacquer. I was looking for supports and products capable of withstanding weathering. All of this research helped me to refine my own process. In 2009, I developed a change in my technique by superimposing my oil painting method onto an acrylic paint base. In this way I have discovered a process which is both sturdy and very pleasant to work with, both while modelling the paint and applying glazes and it has remarkable drying times. These elements combine very well with my anti-UV varnishes. So I can now produce paintings on metal or composite resin supports with an impeccable finish. My paintings can be exhibited outdoors for years equally as well as indoors and in any format. Monumental fine art paintings on metal I have chosen to paint my subjects on panels which are both solid and lightweight so that I can carry out my work in the studio without the constraints of painting on site such as rain, heat or wind. Having painted the subject, I can use specific anti-UV varnish which cannot be used on paintings on canvas. In this way I have the most comfortable working conditions and can produce work of an ideal quality. Once the panels are varnished they are assembled on rails or an invisible and secure fastening system with no apparent screws or bolts. No mater what size the painting is, once it is in place, it can be washed with high powered water jets and will tolerate all types of anti-graffiti detergents. If oil painting techniques have evolved, using metal as a support has more or less disappeared. Studio painters in the past mostly painted on wood then much later this was replaced by canvas stretched on frames; mainly to facilitate painting in the open air on a light support.
	Buick 1950 Oil on Metal 38 x 61 cm 2009
Oil painting on metal I am primarily a studio painter and I have long preferred to paint on a canvas which had been glued to wood rather than a canvas stretched on a frame. I like the comfort of a rigid support. More recently I have found that metal and composite resin supports are perfectly suited to my new experiments with oil techniques and the very specialised varnishes that I use. This process allows me to make paintings of an extremely high quality with a very beautiful finish.
	Chevrolet Bel Air 1957 Oil on Metal 38 x 61 cm 2009 Chevrolet Deluxe 1953 Oil on metal 38 x 61 cm 2009 Exterior Printing “Techni-Print” Montauban - 2001 20 m2 - 5 x 4 m

Oil painting has benefited from an enormous heritage. Since it was swiftly adopted by the Flemish masters and then by the greatest painters throughout the world, it has become “the” preferred technique over the centuries. From its inception, the technique of painting in oils revolutionised painting because of its chromatic richness, durability and adaptability. Oil painting on metal is not a recent invention. From the middle of the 14th century artists were already painting in oils and sometimes they painted on sheets of copper. While the Flemish painter Jan Van Eyck was largely responsible for the evolution of this technique in 1410, by dissolving colours in nut or linseed oils, we now know that the Romans painted decorative works using oil paints.
Interior Monumental Painting Initially I used only oils in my large format mural paintings which forced me to confine my work to interior projects.

Following an in depth study of the location, I draw up the initial studies and a 1/10th to scale model of the painting. The angles of certain walls and locations lend themselves to effects such as “trompe l’oeil”, anamorphosis and other visual illusions which allow me to customise the work in a way that gives visual suprises. Once the scale model is accepted the preparation work can begin. On sound walls of cement, plaster or wood a preparatory coat of primer reinforces the adherence of two layers of a special coating which are applied next. Then, after a light sanding, the preparatory drawing is done in blue pencil. Following this, the oil painting is completed with paintbrushes using the same technique as that used in the studio on canvas. After a drying period of several months; which is required for the longevity of the work, two coats of a very resilient varnish for paintings are brushed on. An oil painting of this quality can be cleaned occasionally with a soft, damp cloth.
My new technique on metal panels can also be adapted perfectly to interiors. Even in a damp environment like a bathroom or swimming pool.

The Techniques of the Grand Masters More than thirty years ago now, I studied the techniques of the old Grand Masters in the Louvre Museum in Paris. The Louvre made available to me the original paintings of the Great Artists like Jean-Francois Millet, Reynolds & Jean-Francois Boucher.

I also studied Gustave Moreau’s body of work in his amazing “Studio Museum” at 14 rue de La Rochefoucauld, where he lived in Paris. Gustave Moreau (1826 – 1898) painted in large formats and was one of the most prestigious symbolic painters. His themes, which were drawn from mythology, provided him with the pretext for expressing the aspirations of his personal ideology in his paintings.

Large Formats In 1974, I began my career as a scene painter in the mythical studios of Publidecor at Montreuil, where I made hundreds of paintings for cinemas. These very large canvasses, which were painted in vinyl paint, were shown every week on the front facades of cinemas on the main thoroughfares of Paris. This first experience was decisive, and initiated my desire to paint in large formats. In the studios of Montreuil my apprenticeship was enhanced by the invaluable advice of two artists who were winners of the “Prix de Rome”.