Après une formation de peintre-décorateur à l'école des Arts appliqués de Paris, Jacques Monory travaille dix ans chez l'éditeur d’art Robert Delpire où il se trouve en contact avec l’univers de la photo. Il est l'un des principaux représentants du mouvement de la Figuration narrative qui, au milieu des années 1960 s'est opposé à la peinture abstraite, avec notamment les peintres Hervé Télémaque, Erró, Rancillac, Peter Klasen, Eduardo Arroyo et Valerio Adami. Profondément préoccupé par la violence de la réalité quotidienne, les tableaux de Monory suggèrent des atmosphères lourdes et menaçantes. Les thèmes sont développés à travers des séries et les images qu'il utilise sont directement issues de la société contemporaine. Des emprunts photographiques et cinématographiques, le recours à la monochromie, la froideur de la touche et de la composition caractérisent un style singulier et engagé dans la représentation et baignent souvent dans un monochrome bleu.
After training as a painter-decorator at the School of Applied Arts in Paris, Jacques Monory worked for ten years with the art publisher Robert Delpire, where he came into contact with the world of photography. He is one of the main representatives of the Figuration Narrative movement, which in the mid-1960s opposed abstract painting with painters such as Hervé Télémaque, Erró, Rancillac, Peter Klasen, Eduardo Arroyo and Valerio Adami. Deeply concerned with the violence of everyday reality, Monory's paintings suggest heavy and threatening atmospheres. Themes are developed through series and the images he uses are directly taken from contemporary society. Photographic and cinematographic borrowings, the use of monochrome, the coldness of the brushstroke and the composition characterize a singular and committed style of representation, often bathed in a blue monochrome.
After training as a painter-decorator at the School of Applied Arts in Paris, Jacques Monory worked for ten years with the art publisher Robert Delpire, where he came into contact with the world of photography. He is one of the main representatives of the Figuration Narrative movement, which in the mid-1960s opposed abstract painting with painters such as Hervé Télémaque, Erró, Rancillac, Peter Klasen, Eduardo Arroyo and Valerio Adami. Deeply concerned with the violence of everyday reality, Monory's paintings suggest heavy and threatening atmospheres. Themes are developed through series and the images he uses are directly taken from contemporary society. Photographic and cinematographic borrowings, the use of monochrome, the coldness of the brushstroke and the composition characterize a singular and committed style of representation, often bathed in a blue monochrome.