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RIVES Jean-Marc

Artrinet work analysis of RIVES Jean-Marc


Classification : A320-B200-C150-D115
(You can click on each code separatly
to locate it in the general classification grid.)

RIVES Jean-Marc
RIVES Jean-Marc

The classification provides four or more codes placed on four axis (A - formalism, B - matÚriality, C - involvement body/mind, D - communication). These codes are positionning the artist in the art history.

When looking at the work, what type of formalisation first strikes the eye? Is it more abstract or more figurative, etc ? (on a scale from more "immaterial" to more "realist").
A320 : Representative works Traditional representative works
from the most poetic vision to the most delicate evocation of what constitutes our life and environment, represented by the various forms of painting we know as the "French Tradition" (from CÚzanne's Provence landscapes to Van Gogh's bunches of flowers, from Boudin's seascapes to Kisling's portraits...).

How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
B200 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with colours predominant
with their intrinsic or symbolic strength, (Monory's "blues", G.Fromanger's "reds") historical or social meaning etc., and their structuring, the colours here are the most important (Jules Olitsky, Peter Halley, ...).

With what body:mind ratio does the artist enter into his work?
Classify from the most "intellectual" (e.g."Concept Art"...) to the most "physical" (e.g. "Body Art", ...).
C150 : between
Where the material and corporal necessities of existence confront the multiple questions about its "essence" (from Munch's "Scream" to the Installations of Thomas Hirschhorn, from Karrel Appel's "Scream" to Francis Bacon, ...).

Does the artist have the deliberate intention to convey a message of any sort through his work?
(classified from the most "mystical" to the most "worldly").
D115 : via what is meant in various narrations or symbolisms whatever they may be
allegorical, metaphorical (J. Beuys' "materials", ...), analytical (Mario Merz's "Fibonacci series", or those of Robert Filliou, ...), critical (from Henri Cueco to Hans Haacke or Guillaume Bijl, ...).

RIVES Jean-Marc