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1. Jean-Michel Folon, Le rêve éveillé, 1971, Musées royaux des beaux-Arts de Belgique, Bruxelles, Photo : J. Geleyns - Art Photography
Jean-Michel Folon, who first gained recognition with an exhibition at the Royal Museums of Fine Arts of Belgium in 1972, is now entering on a juxtaposition with René Magritte. While Magritte delved into the enigmatic and mysterious realms of painting, Folon ventured into the poetic and delicate works, but despite their different artistic journeys, both shared a deep connection with graphic design.
The genesis of the exhibition
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2. Jean-Michel Folon, Sans titre, undated, watercolour, Fondation Folon, ADAGP, Paris, 2024
The Magritte · Folon exhibition emerged from a rich history intertwined with the Royal Museums of Fine Arts of Belgium (RMFAB) and the impact René Magritte had on Jean-Michel Folon. This exhibition not only provides an opportunity to showcase two of Folon’s significant watercolours, "Le Rêve éveillé" and "Contagion," which were acquired in 1972 by Philippe Roberts-Jones, the then director of the RMFAB, but also highlights the intersection of these two great artists journeys.
In 1999, as Folon established his foundation in Belgium, he reflected on his initial encounter with art. In 1953, at Knokke’s Casino on the Belgian coast, the young Folon was captivated by René Magritte’s "Domaine enchanté" an experience that left an indelible mark on him. The archives of the Fondation Folon reveal that Folon's admiration for Magritte blossomed in the early 1970s, around the same time his personal library began to fill with works on Surrealism. This admiration is evident in his writings and artistic creations from that period.
The Magritte · Folon exhibition not only underscores Folon’s fascination with Magritte’s oeuvre but also celebrates the enduring legacy and mutual influence of these two iconic Belgian artists.
Two generations of artists
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3. René Magritte, La voix du sang, 1961, Private collection, Succession René Magritte - Sabam Belgium, 2023 - Photothèque R. Magritte Adagp Images, Paris, 2023
Jean-Michel Folon's curiosity for René Magritte's became evident in the early 1970s. At this time, Folon had already established himself in the art world, gaining recognition through his vibrant ink drawings for major French and American magazines and his collaborations with the CCI and Olivetti.
His transition to watercolour allowed him to craft a poetic language characterized by subtle gradations, transparencies, plays of light, and the beauty of landscapes.
In contrast to Magritte, who left numerous writings about his artistic philosophy, Folon provided only sparse documentation of his approach. He consistently expressed, “I create an image, others understand it. We share the work between us.” Folon intentionally refrained from offering definitive interpretations of his work, instead advocating for the freedom of interpretation and opening the doors of imagination. Magritte also supported this liberation, rejecting any interpretative readings of his paintings.
Both artists, despite their different methods and mediums, shared a common belief in the viewer's role in completing the artistic experience, encouraging a personal and unrestricted engagement with their art.
The ready-made
In both artists, the power of objects lies in their ability to transcend their ordinary context through a series of compositions. This methodology, which displaces objects or texts within an image, is designed to question our relationship with reality.
Jean-Michel Folon, much like René Magritte, frequently altered the relationship between objects, designs, and reality. He imposed an isolation upon these objects, allowing them to resonate independently, whether on paper or in three dimensions.
Folon surrounded himself with objects, methodically arranging them in “cabinets of curiosities” or piling them up amid the clutter of his workshop, ready to serve as sources of inspiration. When choosing objects, both Folon and Magritte preferred everyday items. This choice can be seen as a rehabilitation, even a glorification, of the humblest objects.
A mindset
Jean-Michel Folon sought to delve deeper into his poetic quest, frequently being called upon to illustrate works of literature. He brought his unique vision to the writings of Guillaume Apollinaire, Jacques Prévert, Ray Bradbury, Boris Vian, Jorge Luis Borges, and Lewis Carroll.
Folon aimed to avoid literal interpretations, striving to present his poetic perception of their words through his dreamlike images. This world, cherished by the Surrealist movement, was also central to Folon’s artistry.
Although we cannot definitively prove the constant influence of Magritte's universe on Folon, we can confidently place him within the Belgian Surrealist tradition. This is supported by M. Löwy’s declaration that Surrealism is not merely a literary school or group of artists, but a movement of spiritual revolt and an effort to re-enchant the world.
Surrealism strives to reintegrate poetry, passion, imagination, magic, legend, wonder, dreams, revolt, and utopia into human life. In this spirit, Folon’s work embodies the Surrealist ethos, aiming to disturb and provoke thought, meriting both respect and patience for its subversive attempt to re-enchant the world.
Informations about the exhibition
Place: Royal Museums of Fine Arts of Belgium
Date: 21.2.2024 - 4.8.2024
Curators: Stéphanie Angelroth, Isabelle Douillet-de Pange, Sarah Van Ooteghem and Francisca Vandepitte
Ticket: Available at the front desk of the museum
Informations about the Royal Museums of Fine Arts of Belgium
Musée Magritte
Place Royale 2
1000 Brussels
Belgium
Phone: +32 2 508 32 11
Mail: info@fine-arts-museum.be