Mountain Landscape Painting
1927 – 2015
Biography, homage to the Artist
Mountain landscape Painting: Born in Alsace, in northeastern France, as a child, Jean-Georges Inca developed a great interest in drawing and pastels. He showed exceptional gifts in interpreting seasons, forests, and flowers. His early years were also filled with sports, but athletic competition couldn’t hold his attention. He chose medical studies for the challenge, but soon found his real passion resides in literature and the arts. He became a voracious reader and became concerned by the shock civilizations on the threshold of the Third Millennium experienced from scientific, philosophical, religious, cultural and artistic mutations. In his artworks, he raised questions
Paris was Jean-Georges Inca’s location of choice to pursue his art career. He spent most of his time at Saint Germain des Près, especially the “Café Les Deux Magots” where writers and artists met at the time. He worked his craft at night in front of the sculptures of the master at the Rodin Museum, to which he obtained clandestine access.
Cathedrals in Open Air
Series painted from 1986 to 1995
The artist’s comments on the Cathedrals: “I think nature will remain an inexhaustible source of inspiration and will be represented infinitely. For eons, and according to their civilizations, most humans depended on nature for the best – life – and the worst – death. From these human societies, artists always arose to illustrate such connivance, solidarity and implication through writing, music, sculpture and painting…”
Dolomites – n·167 – 50x70cm
There is no word to describe mountain painting, as there is “marine” for sea paintings. Jean Georges Inca, passionate and inspired equally by the great virgin spaces as by all the great adventurers of the century: those who have been walking the course over the vast plains of ice in the Arctic and the Antarctic, the collection – Poles (1991-1993).
“I can appreciate that in your painting you are fed by telluric forces. There are sometimes moments, images, lived through intimate and powerful contact with a hostile nature.” commented by Jean-Louis Etienne.
Mountain Landscape Painting: The Alps
In 1960, he settled his family in the Maritime Alps where he planned to raise his five children. While spending time with family, he turned daily life into the subject of his paintings: the villages, roofs, and churches. At other times he backpacked out into the mountains to paint crystal-clear watercolors in nature.
New Mountain Paintings
He continued to read with curiosity. His quest to understand the human adventure was all consuming. Thus began his blue period. The canvases were sold and opened a new era of ‘new mountain painting’. He questioned the place of mankind, canvas after canvas, and could assure himself only of his absolute doubt.
The Woman of the Painter
In 2001, when he explored the notion of genius, Inca signed an essay on this collection, a superb work called Editions of Art On Snow – The Emotional String – An artistic and psychological approach to a genial approach – dedicated to Ariane in these words: “For Ariane, my companion, a lifelong stranger, who gave me everything. All. In fact, she was called “the painter’s wife,” but in the hinterland you could hear “the husband of the painter’s wife” to refer to him!
Fire and Ice – 50x70cm- n·4136
Mountain Landscape Painting: Himalaya 1988-1989
Himalaya series was inspired by the Italian mountaineer and explorer, Reinhold Messner: the first person to climb the world’s 14 eight-thousanders and ascend Mount Everest without supplemental oxygen. Jean Georges Inca identifies himself with this man, reads all his books, and in a similar spirit, attacks the first canvases where the red comes up against the deep blue. The Himalaya collection, the Emotional String (1988-1990), acquired partly by Messner in the MMM, Messner Mountain Museums.
The collection Genesis is based on contemporary scientific as well as philosophical, theological, and aesthetic knowledge:
“This painting carries an unprecedented approach to high places. An emotional and humanist refocusing of the man in nature according to an approach enriched with a planetary, cosmic, and timeless breath.” Writes Benito Pellegrin in The Mind and the Heart, an aesthetic study of the work of Jean Georges Inca.
“This physical and metaphysical painting, that broad, generous, stormy, erect form … gushing, ejaculating vital energy … is a moral painting.”
Water, Blood of the Earth 2000-2005
The collection Water, Blood of the Earth expresses Jean-Georges Inca’s intimate questioning of the dynamics of the four elements. As read by Ilya Prigogine, Nobel Prize in Chemistry:
“There is in your paintings an element of cosmogenesis to which I am particularly sensitive. The ideas of a self-organizing universe that creates itself from chaos also seem to be the basis of your magnificent achievements…”
Pathways of Light (2007-2008)
Around the Dolomites mountain range, Jean Georges Inca painted “Man in the Whole”, in which the artist portrayed the instinct for life. The figure in the mountains, barely a point in comparison to the painting as a whole, demands the attention and concentration of the viewer to empathize with the exhilaration of the instinct for survival and feel the influence of the mountains on this impulse, geographical and spiritual. Without this figure, however small it may be, would not the mountain be a just pile of stone? Jean-Georges Inca has testified to the beauty on earth, and those who live there.
In this period, Jean-Georges Inca needed blue, another blue again, the cobalt, and mixed even more. Through the power of these diverse hues, explains Agnès Subrini, philosopher, “In viewing the work of Jean Georges Inca, one cannot escape the ardor of ardor, to experience the impulses which push certain men to defy the world in its most inaccessible parts.”
The Human with the Universe
The painting of Jean Georges Inca is impregnated with the almost irrational power of the human in front of the universe. In it there is no sky, nor even earth, save for a fragment of nature spurting out, torn, a world of titans just emerged from the chaos: a scene whose strength leaves the man fragile, but still valiant.
As a great reader who was concerned with the clash of civilizations at the beginning of the millennium caused by scientific, philosophical, religious, cultural, and aesthetic changes, this artist claimed timeless values, such as beauty in its absolute and universal form.
Inhabited by the “evil of the earth” (Hubert Reeves), the painter joins his voice as an artist through his canvases to the call of all those who fight for the only emergency: to preserve the Earth and life on our planet, or our “Light”, as named by the astrophysicist Trinh Xuan Thuan.
The Painter of the Sublime
Jean-Georges Inca died at the age of 88. Michel Onfray offered these words in 2009:
“I discover the work of Jean-Georges Inca. He is truly a painter of the sublime: a philosophical and aesthetic category that I particularly appreciate. I once wrote a book on Monsu Desiderio and I like C. D. Friedrich who said the same thing as this painter: the immensity of the spectacle of nature makes evident the smallness of men in this gigantic theater. The feeling of immeasurable distance between the small me and the gigantism of nature, if not of the cosmos, is the only sacred possible…”
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Water, Blood of the Earth n·980 114x146cm €9,500