Pierre-marie brisson

Pierre Marie Brisson – a unique individual, accomplished artist, lover of life and the arts – is above all a man who has a unique view of the world. Whether he is working in his studio or on the deck of his boat, this French contemporary artist’s most charismatic aspect is the modest elegance with which he captures the most animalistic elements of his subjects, reflecting them in his work, while evoking the celestial and terrestrial, the imaginary and historical, the sky and earth.

Pierre Marie was born in Orléans, France and knew by the age of 14 that he was an artist. Although he never had formal art school training, he did have a teacher who encouraged him to follow his dreams. As a young man, he was inspired by, and worked with, several artists including Bernard Saby, Bram Van Velde and James Coignard, essentially learning his craft as an apprentice.

As a painter, Brisson integrates French decorative aestheticism – evident from Manet to Matisse – into modernist Primitivism. Using a collage technique, Brisson combines various elements in his compositions, imitating the rough surface of an ancient wall, the craquelure of old paint, the decorative pattern of wallpaper and woven fabric. Brisson’s art is avant-garde and ingenious, yet timeworn and antique. It is skillfully crafted with the best materials, yet part of its success rests with the fact that his works are fashioned from the discarded fragments of our disposable civilization, rescued and revitalized by the hand of an artist.

He uses several subjects and motifs repeatedly. Art historian Jennifer Katanic observed: “His work unravels the mystery of art through a careful reflection on familiar motifs. Matisse is recognized through his palm fronds and dancers, Degas by his ballerinas, the masters of Ancient Greece in a trio of athletes and the feminine graces. Each motif is transformed through process and materiality into a living picture. Jasper Johns accomplished something similar in his use of the American flag; immediate recognition of something known freed the viewer to experience the making of art more directly. And that in turn, allowed the viewer to figure out more readily what exactly the artist was accomplishing through his choices.”



Olivia Park Gallery, Seoul, South Korea

Collégiale St Pierre Le Puellier, Orléans, France
Maison des Princes Museum, Pérouges, France
Space Dominique Bouchet, Tokyo, Japan

Chapelle des Capucins, Aigues-Mortes, France
Pierre-Marie Brisson: In the Mood Of MatisseBill Lowe Gallery, Atlanta

Space Ugot, Marseille European Capitale of Culture 2013, France

Museum Faure, Aix les Bains, France

Musée d’art et d’histoire de Cognac, Cognac, France     
Musée de l'Hospice Saint-Roch, Issoudun, France
Villa Béatrix-Enea and Georges Pompidou Gallery, Anglet, France

Musée des Beaux-Arts, Chateau de Foucaud, Gaillac, France

Stadtisches Museum, Gelsenkirchen, Germany
Musée de Gelsenkirchen, Gelsenkirchen, Germany
Fondation Carcan, Carcan, Belgium
Chateau de Lussan, Lussan, France

Platform, Beirut, Lebanon

Bill Lowe Gallery at The EstateBill Lowe Gallery, Atlanta

Artworks with no pricing, Bill Lowe Gallery, Atlanta

Art Elysée, Paris, France

150th Anniversary of the Angélus, Barbizon, France
Eglise Sainte Anne, Montpellier, France

Orangerie du Sénat, Paris, France

SAGA, Paris, France

International Biennial of Graphic Art, Ljubjana, Slovenia
SIAC, Strasbourg, France

Opéra de Rouen (The Year of Mozart), Rouen, France