Gérard Schlosser s’est affirmé sur la scène artistique française au début des années 1970 par un langage pictural parfois hâtivement classé au sein de l’hyperréalisme. Ce jugement masque la réalité d’une démarche plus subtile portée sur l’environnement quotidien de l’être. Membre actif du Salon de la Jeune Peinture jusqu’en 1972, il est un artiste singulier au sein de la Figuration narrative. La couleur fait irruption dans son œuvre au milieu des années 1960 dans la série des Boîtes, avant de s’affirmer avec une tonalité pop dès les années suivantes dans des « scénettes » où filtre déjà une expression charnelle explicite. Il fait alors le choix d’un langage figuratif plus réaliste, mais très personnel. Ses toiles, résultant d’une matrice de photomontage projetée sur la toile à l’épiscope, présentent en gros plan dans un cadrage resserré des corps tronqués, dans une pose décontractée. En perspective, un motif secondaire induit une narration sous-jacente, que renforce le titre évocateur d’une conversation qui évoque la banalité mais aussi la langueur d’un quotidien retrouvé. Il est difficile de trouver meilleurs mots que ceux d’Olivier Kaeppelin pour décrire le travail de Gérard Schlosser : « L’œuvre de Gérard Schlosser, pour qui sait la regarder, est d’une infinie richesse, elle use de dimensions multiples, se sert d’évidences, de clichés comme d’énigmes ou de sous-entendus. Elle est à la fois sociale, politique, existentielle. Elle porte une grande attention aux êtres, à leurs attitudes, à leurs aspirations au bonheur. Elle est silencieuse et attentive aux non-dits. Elle se consacre, sans complaisance, à la beauté des corps, à celle de la nature, cet autre corps vivant. Elle nous englobe dans un univers pluriel grâce à la peinture, la pensée de la peinture qui construit une vision structurée, claire et mobile du réel. »
Gérard Schlosser asserted himself on the French art scene in the early 1970s with a pictorial language that is sometimes hastily classified as hyperrealism. This judgment masks the reality of a more subtle approach to the everyday environment of the human being. An active member of the Salon de la Jeune Peinture until 1972, he is a singular artist within the Figuration narrative. Color bursts into his work in the mid-1960s in the series of boxes, before asserting itself with a pop tone in the following years in "scénettes" where an explicit carnal expression already filters through. He then chose a more realistic figurative language, but very personal. His canvases, resulting from a photomontage matrix projected onto the canvas with an episcope, present close-ups of truncated bodies in a relaxed pose. In perspective, a secondary motif induces an underlying narrative, reinforced by the evocative title of a conversation that evokes the banality but also the languor of a rediscovered daily life. It is difficult to find better words than those of Olivier Kaeppelin to describe Gérard Schlosser's work: "Gérard Schlosser's work, for those who know how to look at it, is infinitely rich, it uses multiple dimensions, it uses obviousness, clichés as enigmas or undertones. It is at the same time social, political, existential. It pays great attention to people, to their attitudes, to their aspirations to happiness. It is silent and attentive to the unspoken. She devotes herself, without complacency, to the beauty of bodies, to the beauty of nature, this other living body. She encompasses us in a plural universe thanks to painting, the thought of painting that builds a structured, clear and mobile vision of reality.
Gérard Schlosser asserted himself on the French art scene in the early 1970s with a pictorial language that is sometimes hastily classified as hyperrealism. This judgment masks the reality of a more subtle approach to the everyday environment of the human being. An active member of the Salon de la Jeune Peinture until 1972, he is a singular artist within the Figuration narrative. Color bursts into his work in the mid-1960s in the series of boxes, before asserting itself with a pop tone in the following years in "scénettes" where an explicit carnal expression already filters through. He then chose a more realistic figurative language, but very personal. His canvases, resulting from a photomontage matrix projected onto the canvas with an episcope, present close-ups of truncated bodies in a relaxed pose. In perspective, a secondary motif induces an underlying narrative, reinforced by the evocative title of a conversation that evokes the banality but also the languor of a rediscovered daily life. It is difficult to find better words than those of Olivier Kaeppelin to describe Gérard Schlosser's work: "Gérard Schlosser's work, for those who know how to look at it, is infinitely rich, it uses multiple dimensions, it uses obviousness, clichés as enigmas or undertones. It is at the same time social, political, existential. It pays great attention to people, to their attitudes, to their aspirations to happiness. It is silent and attentive to the unspoken. She devotes herself, without complacency, to the beauty of bodies, to the beauty of nature, this other living body. She encompasses us in a plural universe thanks to painting, the thought of painting that builds a structured, clear and mobile vision of reality.