March 13, 1939 Paris
(suburb of Boulogne-Billancourt), France
Home: In 1957, JPR moved with his family to the
Principality of Monaco; spent two years at school in Madrid, Spain, traveled
the world and is currently (in 2016) residing in Fontenay-le-Comte, France
Occupation: Painter, Visual Artist
Representation: Galleria Jan
in La Jolla, California was his exclusive representative in the United States
for about 20 years, until the owner, Bilyana Beran, died and the gallery
closed. (See list below of other galleries around the world that exhibited and
sold JPR’s artworks.)
Education: Lycée
Francais de Madrid, in Madrid, Spain
Earned his
law degree in Paris
Nationality: French
The Art & Life of Jean-Pierre
Rousseau
There are very few
prodigies among painters of fine art—and fewer still who can look back upon
successful careers that have lasted more than half a century.
Jean-Pierre Rousseau
is both. He was still an adolescent when his ability and single-minded
dedication to interpreting the world through brush and paint became
evident. Art was his calling, the first
and lasting love of his life, which he continues to pursue with undiminished
passion to this day. For it, he risked
his family’s displeasure and the security of upper middle class affluence by
abandoning business and law school, joining art classes and haunting the great
museums and countless galleries of Paris.
At the tender age of
18, Rousseau became an instant sensation when, discovered at his easel while on
vacation in Monaco, he received glowing press reviews for his unique style and
powerful images. A local newspaper’s art
critic was particularly impressed by the young man’s declaration that he
intended to bring back to Paris several canvases depicting the “seductive
Monaco” for his next exhibition.
It was an auspicious
beginning for Rousseau, who fell in love with the Principality even before his
family decided to relocate there. Little
did they know that the place would become an added source of inspiration for
the young man and eventually catapult him to a hugely successful artistic
career.
Following Rainier’s
marriage to Grace Kelly, the newly crowned Princess Grace also became
Rousseau’s supporter and patron, appointing him the official painter of not
only their palace and surrounding gardens, but of her own creative realization
of a great passion: ballet. Rousseau’s paintings were soon chronicling the evolution
of a world-class Ballet Academy established by the Princess, and its professional
performing arm, Les Ballets de
Monte-Carlo, from which the Academy’s graduate dance troupe is still drawn.
Rousseau’s ballet-themed paintings reveal his inspiration by an earlier French
Impressionist: the great, ballet-besotted Edgar Degas.
Upon the Princely
couple’s passing, their heir, His Serene Highness Prince Albert II of Monaco,
took on the mantle of JPR’s patron and collector of his work. He also left
intact another benefit conferred by his parents upon the artist—the continued
use of a slip in their Marina to berth his boat.
Have Boat & Art Supplies Will Travel
A mariner at heart,
Jean-Pierre Rousseau has owned and sailed several boats in his travels around
the world—as well as making them and other seafaring vessels the centerpieces
of many paintings, some of which are in the collection of his Monegasque
patrons, while others adorn the walls of various European royal palaces,
international corporate headquarters, celebrities’ homes, and museums.
Although his
collectors and fans most often describe him as talented, dynamic, charming
and generous, those who know JPR best,
list ‘restless’ at the top of his
characteristics. Wanderlust and insatiable curiosity have made him a perennial explorer
as he sailed around the world and expanded his sphere of interests into both a
wider range of subjects and artistic techniques. These come to life in
Rousseau’s tender but unsentimental oil paintings of women—mothers with
infants, nudes, girls on the threshold of womanhood—as well as in the
moment-perfect photographs, pen-and-ink sketches, acrylic and watercolor works
produced during his travels. On their owners’ walls, they open windows and let
imagination visit the melancholy romance of misty London street scenes; stark
winter landscapes of northern Holland; luminous Venetian palazzos, gondolas and
waterscapes; experience the
thundering power of horse races and speeding Formula One racecars competing in Monaco’s Grand Prix; stroll past boats tied up in fishing village harbors and Parisian quays on the Seine; and admire the folk costumes of Peruvian market vendors. Many of Rousseau’s photos have appeared in newspapers around the world—often accompanied by illustrated articles about his latest travel adventures and solo art exhibition.
thundering power of horse races and speeding Formula One racecars competing in Monaco’s Grand Prix; stroll past boats tied up in fishing village harbors and Parisian quays on the Seine; and admire the folk costumes of Peruvian market vendors. Many of Rousseau’s photos have appeared in newspapers around the world—often accompanied by illustrated articles about his latest travel adventures and solo art exhibition.
In 1969, Trans World
Airlines, Inc. (TWA) sponsored Rousseau as the official artist on its around
the world inaugural tour, in exchange for paintings he was to produce, that
recorded his impressions of ‘TWA flag stop destinations.’
Normally prolific and
full of energy, Rousseau responds to new places, people and experiences with an
explosion of creativity. He sets up his
easel on streets and riverbanks,
in buildings and the studios of welcoming
fellow artists—and paints in a state of what might be described as controlled
frenzy, as if he was rushing to get it all on canvas before familiarity sets
in. Anywhere in the world he stopped to paint and exhibit, Rousseau’s
insightful images fascinated local gallery owners, critics and art lovers, who
found in them fresh views of their environment.
Over the years, during his peripatetic travels in Europe, Asia and North
America, Rousseau’s (mostly) one-man shows have been favorably reviewed by
critics, well attended by both the general public and local elite, and often
sold out. Along the way, many prizes have been (and continue to be) bestowed
upon the artist and his work. Rousseau
sees them as proof that art is a universal language.
As an artist, Jean-Pierre Rousseau is especially
highly regarded in Italy, where he is being honored at this writing (in 2017)
with the creation of a Museum in Venice, dedicated to his works.
A Born Artist Finds His Voice
Born on March 13,
1939 in Boulogne-Billancourt, a wealthy suburb of Paris, Jean-Pierre Rousseau
found his calling early and pursued it avidly, in spite of his parents’ initial
disapproval. They were eventually won
over by their son’s fierce dedication to the development of his craft, and took
pride in the growing chorus of praise and optimistic predictions about the
trajectory of his talent from art critics, gallery owners and collectors eager
to invest even in his earliest efforts.
Although pleased by
his parents’ change of heart, Rousseau was as little affected by it as he had
been by their former opposition.
Possessing a genuine artistic temperament and an unshakable faith in his
own talent, passion and the perfectibility of his craft, he was—and still is to
this day—immune to both praise and criticism. While enjoying the accolades
lavished on him by the press and the arts establishment, the teenage Rousseau regarded
them as merely stepping-stones to a lucrative career. In the same way, the mature artist, while
appreciating the recognition of his peers, critics, gallery owners, blue-blood
patrons and collectors who range from royalty to art lovers in all walks of
life, never confuses their evaluations of his work with his own. Because as Rousseau said during a recent
interview, the value and importance of his work “is in it being a source of
joy, creative expression and, above all, the special moments when perception,
interpretation and execution blend under the brush and transcend into art.” He
paused before a burst of passion, “I always loved the process! I still love it
all—finding the subject, understanding the colors and forms that will bring it
to life, becoming excited about possibilities and choices, feeling the
intensity of thoughts and emotions that go into the process… It is
breathtaking! But as much as I love the
work, I also love the life that goes with it—traveling, meeting different
people, seeing astonishing sights… Long, long ago, my life and art have become
one.”
(Even now, as his
peripatetic life is considerably slowed by age, JPR’s eyes and heart are
searching for a yet to be discovered image, new encounter and travel adventure.)
During his long
career, Rousseau’s stylistic language has been periodically described as original,
unique, virile, romantic, sensual, luminous and impressionist.
But although some of his
early canvases made a few critics wonder whether he would become “the next
Buffet or Feininger,” no specific influence could ever be pinned on his work. In
fact, the unique visual voice he
found right out of the starting gate still suits him—even as it continues to be
deepened and enriched by the artist’s evolving maturity. His inimitable form of
expression has beguiled European, American and Asian collectors—including such art
connoisseurs as Prince de Faucigny-Lucinge, Lord Guinnes, Marquise de Bailleur,
David Niven, Noël Coward, Burt Lancaster, Italy’s Gianni Angelli family of Fiat
fame, Joan & Ted Waitt (CEO of Gateway Computers) and others.
As Rousseau’s style
matured, his technique grew more exuberant, daring and even edgy at times. One
might sense a hint of danger in an idyllic landscape, or a subtle premonition
of lost innocence in the tender portrait of a mother and child. Paintings depicting girls on the brink of
womanhood are often spiced with zesty eroticism; while an unsettling ambiguity
in the faces of his dancers, circus performers and Carnival celebrants reveal hints
of fear behind the joy.
Rousseau’s paintings
tell their stories through dynamic brush strokes and a freedom of movement that
threatens to fly its subjects right off the canvas. Some have a vertigo-inducing
weightlessness due to the white spaces surrounded by light and movement. Others
combine collages of poetic or philosophical texts with portraits bathed in
tones evocative of Renaissance paintings.
Colorful, richly
textured and vivid as his paintings are, Rousseau’s palette has deceptively few
colors. He paints in simple and mostly primary hues, which tend to deflect
attention from themselves and focus, instead, on the subjects at hand. This
judicious use of colors is an effective counter-balance to the artist’s
enormous energy and opulent images. With any wider spectrum, his bold
compositions and explosive brushwork could easily become overwhelming.
Generosity Fuels Longevity of JPR’s Life & Career
While Jean-Pierre Rousseau’s
success is certainly due to his talent, precocious artistic vision, dedication,
originality, passion and joie de vivre, these attributes alone do not
explain how he has been able to achieve so much, so early, and to keep it going
so long without any dry periods or serious setbacks in this volatile and highly
competitive profession. The mystery is revealed in thousands of newspaper and
magazine stories about his boundless generosity and the joy he gets out of
making art and giving it away to help others. For the man has a habit of
donating his paintings with the abandon of a profligate philanthropist—who
counts among the beneficiaries of his largess the Foundation for the Children of the Californias, a new children’s
hospital in Mexico, a Tibetan spiritual center, charities dedicated to helping
New Orleans victims of hurricane Katrina; the altars of churches he had visited
in Italy, France, Monaco, Argentina, Costa Rica; museums such as the Tuna Fishing Museum in Etel, Nova
Scotia; and the wounded U.S. military veterans whose treatment, rehabilitation,
education and job training Rousseau decided to fund from the proceeds of a
February 2017 sale of about 150 of his artworks in San Diego, which he has
donated.
A raconteur with an
extensive repertoire of stories and uproarious sense of humor, Rousseau is also
a champion listener with boundless curiosity about people and the cultures,
places and events that have shaped them.
He seems to have no difficulty reconciling the duality of being French
to the core and a citizen of the
world—a duality which enables him to live comfortably among people of divers
cultures and social strata, and strike up friendships as easily with Europe’s
titled nobility as with Nova Scotia’s tuna fishermen and Canadian cowboys in
Alberta, whom he spent time teaching French. A committed environmentalist deeply
concerned about Planet Earth, JPR is also a man of principles, for which he is
always ready to make sacrifices. Proof of this was graphically evident in an
instance that was well covered by the international media, which gathered to record
an unprecedented protest: In 2005, after spending some time painting and
familiarizing himself with the lives and culture of tuna fishermen in Nova
Scotia—during which he also donated several of his new paintings to the Musee de Thoniers in Étel, dedicated to
them—upon his return home, French customs officials demanded he pay import fees
on his own paintings, which he was bringing back. When they insisted he pay the
fee even though he explained he had brought the same art supplies from Paris
and the only difference was that the paints were now on his canvases, Rousseau
took the next flight back to Nova Scotia and called in the international press to
witness him burning 45 paintings he created during his stay there. “This
protest was on behalf of all artists exploited by bureaucratic systems,” he
explained.
Speaking Freely…
“As an artist, I am
mostly self-taught,” Rousseau confesses. “I learned to draw in night classes
provided free by the city of Paris. My painting skills were developed on the
streets of Montmartre, where I would set up my easel day after day and just
sketch and paint what I saw around me, in an era when Montmartre was a place
for painters, not tourists, like it is today.
To understand art and how artists transform their personal visions into
intellectual and emotional expressions, I haunted the museums and galleries of
Paris and worked in the studios of various established artists. In those blessed days, artists were
supportive of each other and always happy to mentor new talent.”
“My first attempt to
paint on canvas was inspired by a jazz concert I had attended when American
musicians played in Paris. It resulted
in my painting the portraits of Duke Ellington, Louis Armstrong, Sydney Bechet,
Lionel Hampton and other jazz stars. Duke Ellington loved my portrait of him
and bought it. My other portraits sold
out quickly, too, but I don’t remember who bought them. That concert left me
with the dream to create a huge painting with a life-size representation of a
New Orleans (jazz) funeral.”
“My career as a
professional painter,” Rousseau continued, “actually began in 1957, when I
moved to the Principality of Monaco and Prince Rainier (and later Princess
Grace) became interested in my work. I
began receiving lots of favorable press coverage, which made it easy for me to
exhibit in galleries and attract art collectors. This, in turn, convinced my
parents that I had made the right career choice and turned their previous
displeasure into approval.”
“I continued to hone
my skills by again working in the studios of established artists, painting
‘from nature’ and exhibiting in galleries throughout the region. I also began to travel more—something that I
eventually found to be quite addictive.
To this day, I am driven by both my restless nature and intense
curiosity to explore new places, observe the people who live there and paint
and photograph what I see. I consider
myself a nomad. It is difficult for me
to stay in one place for long… “
“Because I am a
voyager, my studios are designed to be assembled and disassembled quickly. Nothing is fixed. While this creates problems
at times, it is a price I am willing to pay for the freedom to travel. Even the choice of techniques I use—such as
drawing, acrylic, oils, pastels, water color—is often based on my destinations
and the type and length of the journey.”
“I am convinced that whoever looks at my work
can feel my passion —even if he or she interprets the subject differently than
I do…When I have exhausted a subject, the passion disappears. Sometimes I get angry and set fire to some of
the paintings I feel were done with half a heart. After that, I feel reborn, open to falling in
love with the next subject that will inspire a new passion… There are periods
of voids and doubts between these creative storms… but always the passion
returns and I move to other subjects.
The day on which my passion is extinguished, I will have to
disappear—because there will be no reason for me to be on this earth,” Rousseau
concludes with matter-of-fact tone and expression which, however, hints at an
uncharacteristic darkness.
Believing that
wanderlust and possessions are incompatible, Jean-Pierre Rousseau tries to
simplify his life; but when, in spite of his efforts, clutter accumulates and
he feels his freedom threatened, he escapes to far away places. “Each time I
leave a place,” he laughs, “I pack a trunk with whatever doesn’t fit into my
suitcase and leave it in the care of a friend or a gallery willing to store it,
with the promise that I will eventually come back for it. I never have. There are dozens of trunks all
around the world, filled with my things…”
Even though Rousseau
has shunned marriage after a very short one failed during his youth, he has
been happily sharing a home for years with the remarkable Jacqueline, whom he
describes as “a woman of extraordinary intelligence, grace and wisdom and my
friend and companion of nearly five decades.”
Anecdotes
During one of the Grand Prix of Monaco races Jean-Pierre Rousseau
was invited to set up his easel in Enzo Ferrari’s box. “I had seen the cars up
close earlier,” the artist remembers.
“These were magnificent machines…powerful, beautifully sculpted, with
precision mechanisms designed and hand-crafted by master engineers. They were
works of art. Waiting in the viewing box for the race to start, I was painting
the cars in the order in which I imagined them streaking through the Finish
line. The colors and numbers corresponded to reality. The rest was fantasy. But fantasy became reality when, to
everyone’s amazement, the cars finished exactly in the order in which I had
painted them. The picture was
immediately bought by the representative of the watch company, Longines,
who acted as the director of the Grand
Prix of Monaco race. He then
presented it as gift to Enzo Ferrari, whose car won the event. As far as I know, my painting still hangs in
his office.”
“I seem to have been
blessed with a charmed existence,” Rousseau said, “which has protected me from
the wrath of powerful people. For example, when Prince Rainier had a conflict
with General DeGaule, who was then president of France, the feud of these two hot-tempered
men threatened to affect my livelihood. During a meeting between the Prince and
DeGaule’s ambassador to Monaco, tempers flared and Rainier slapped the French
ambassador. DeGaule was livid and
decided to teach the ‘little prince’ a lesson by posting customs officers on
the French-Monegasque border for three days, and charging tariffs on goods previously
shipped free between Monte Carlo and France.
Since this meant lost revenue and tourism to the tiny Principality,
Rainier and his government were very upset. Unaware of this as I was driving
back to Monaco from Paris, I was surprised to be stopped by the French customs
officers and witness the uproar caused by this new regulation. On an impulse, I
parked my car, set up my easel and painted the entire scene. As soon as I got home, I went to the gallery
that was representing me at the time, and gave them the picture to add to my
exhibition. They liked it so much, that
they displayed it in front of the gallery door.
Several powerful people from the Prince’s palace saw it and demanded
that the painting be put away. The
gallery owner refused and the officials went to Rainier to complain. The Prince came down from the palace, saw my
painting, burst into laughter, bought it and hung it in the palace. I believe it is still hanging there.”
“Another time, Prince
Rainier sent word to the Monegasque arts community that he wants them to set up
a competition to create an original painting that will be a fitting
representation of Monaco to hang in the Principality’s consulate in New York. I
entered the competition with the painting showing the Monte Carlo Casino’s
ornate façade, with a lovely woman in a red cape and elaborate hat in the
foreground. Her period clothes evoked the Casino’s glamorous past. The other artists, palace staff and
government officials were outraged and criticized my painting quite harshly in
the press. My dear patron, Prince
Rainier, however, chose it and it is now hanging in the Monegasque consulate in
New York City.”
∞∞∞∞∞∞∞∞∞∞∞
JEAN-PIERRE ROUSSEAU — Awards & Career Notes
1958 Invited to the International
Art Festival of Villefranche sur Mer, France.
Received Second Prize of “Vox Populi.”
1958 First Special Exhibition of
Lekkerkerk, Holland.
1958 Group Exhibition of UNESCO
in Holten, The Netherlands.
1959 One-man show at the Galerie Rauch
in Monte Carlo, The Principality
of Monaco.
1959 Invited to the UNESCO
Exhibition on “The Sea and Its Painters” at
the Oceanographic Museum
of the Principality of Monaco.
1961 Participation in the CNMAIAP
Exhibition of Monaco. Received First
Prize
for Painting of the
Second International Salon Bosio of Monte Carlo —
presided over by His
Highness Prince Rainier of Monaco.
1961 One-man show at the House of
Youth in Tebessa, Algiers.
1962 Participation in a group
exhibition in Dublin, Ireland.
1962 One-man show at the Galerie
Saint Antoine in Cannes, France.
1962 Received First Prize for Painting
from UNESCO, at the Third International
Salon Bosio of
Monte Carlo.
1963 Study trip and group exhibition
in Spain.
1963 Participation in a group
exhibition at the Galerie RAUCH in Monte Carlo.
1963 Invited to the Fall Salon of
Lyon, France
1964 Received the Award for Young Hope, in Lyon, France.
1964 One-man show in Belluno, Italy.
1965 Invited to the International
Art Exhibition of Monte Carlo.
1966 Received
the First Prize of Europe at the International Art Exchange in
New York
City.
1966 One-man show at the Plaza of
Nice, France
1966 One-man show at LE BRETON
in Mane, France.
1966-67 One-man show at Bernardi
International Gallery of Washington, D.C.
Under the patronage of
His Highness Prince Rainier and Princess Grace
of Monaco.
1967 One-man show at the Galerie
Rauch of Monte Carlo.
1968 One-man show at the Atrium of
the Monte Carlo Casino.
1968 One-man show in Nantes, France.
1968 One-man show in Lyon, France.
1968 Exhibited at the Galerie de
Arte Marguez in Buenos Aires, Argentina
(sponsored by the Exclusive
Artists of the Bernardi International
Gallery of
Washington, D.C. – EEUU).
1969 One-man show at the Atrium of
the Monte Carlo Casino.
1969 Exhibition and lectures about JPR’s
World Tour (TWA), at the “Round
Table” of Monte Carlo.
1969 One-man show in Chicago.
1969 One-man show at Galerie Karsenty
of Monaco.
1969 First Prize for Painting – TWA
Art Award of TransWorld Airlines’
World Tour.
1969 JPR on TWA / TransWorld
Airlines World Tour.
1969 One-man show in Athens, Greece.
1969 One-man show in Tel Aviv, Israel.
1969 One-man show in Bombay, India.
1969 One-man show in Colombo, Ceylon.
1969 One-man show in Bangkok, Thailand
1969 One-man show in Hong-Kong.
1969 One-man show in Los Angeles,
California.
1970 One-man show in Nice, France.
1970 One-man show in Bruxelles,
Belgium, a the Galerie Christian Hals,
under the patronage of His Highness Prince Rainier and Princess Grace of
Monaco, with the presence of Princess Paola of Belgium.
1971 One-man show at l’Etable de
Beausoleil, France.
1971 One-man show at the Galerie Karsenty
of Monaco.
1971 One-man show at the Villa
Morwenna in Cap d’Ail, France.
1971 One-man show in la Baule, France.
1972 One-man show in l’Etable de
Beausoleil, France.
1972-73 One-man show at the Galerie Karsenty
in Monaco.
1973 One-man show at l’Etable de Beausoleil,
France.
1974 One-man show at l’Etable de
Beausoleil, France.
1974 One-man show in Rome, Italy.
1974 One-man show at the Place
Vendome, in Paris, France.
1975 One-man show in Milano, Italy.
1978 Received the Oscar of Monte Carlo
of Milano, Italy, for JPR’s collected
works (pour l’ensemble de son oeuvre.)
1978 One-man show at FLASHMAN’s of
Monte Carlo
1981 Exhibition at Kobé (Port Island),
Japan.
1981 One-man show at Melun, France.
1981 Exhibition at the Artists’ Rendezvous
Quai Antoine the First,
in Monaco.
1982 One-man show and retrospective at
the Palais de L’Europe
in Menton, France.
1982-83 One-man show in Melun, France.
1983 One-man show in Lons le Saunier,
France.
1983 One-man show in Lannemezan,
France
1985 One-man show in Lons le Saunier,
France.
1986 One-man show at the Galerie
Valera in Lannemezan, France.
1987 One-man show at the Municipal
Gallery Renoir, at the Theatre of
Old Nice. Presided over by Mr. Jacques Medecin, Mayor of Nice,
and the
Municipal Council of the city of Nice, France.
1988 One-man
show in Santa Giustina, Italy.
Presentation of JPR’s 14 paintings depicting the Stations of the
Cross—donated by the artist to the Church of Paderno, Italy.
1988 Inauguration of JPR’s paintings
of the Stations of the Cross, on the
occasion of their installation in the Church of
Paderno—in the presence of
the Bishop of Beluno, Italy.
1990 Exhibition at the Fitness
Caraibes in Saint Martin, Virgin Islands.
1990 One-man show in Gavroche de
Nantes, France.
1990 One-man show at the Galerie
Pictural of Monte Carlo, Monaco.
1992 One-man show at the Maison de
Mandrin in Brioude, France.
1992 Exhibition at the Galerie du
Métropole in Monte Carlo.
1992 Exhibtion at the First Salon
of Prestige of the Chaise Dieu Académie
Artistique du Lys
Académie Européenne et Internationale des Beaux
Arts, in Barbizon, France.
1993 One-man show at CIL ELLES
in Monte Carlo, Monaco.
1993 Exhibited
at the Second Salon of Prestige of the La Chaise Dieu, under the high patronage
of Mr. Valéry Giscard d’Esteing—and received the
Award of Académie Artistique du Lys Hommage á
Jean-Pierre
Rousseau.
1993 One-man show at the Galerie La
Lithographie of Bandol, France.
1994 One-man show at Antic Deco
in Nice, France.
1994 Exhibited
by invitation from the Salon Académie Artistique of Lys á La Chaise Dieu,
Salon de Prestige.
1994 One-man show in Cognac, France.
1995 Participated in the exposition “Women
of Venus” in the Salle Marcel
PAGNOL, in
Bandol, France.
1995 Invited to (exhibit at) the Salon
de l’Académie Artistique du Lys Salon de
Prestige á La Chaise Dieu (in Barbizon, France)
1995 One-man show in Monte Carlo at
the gallery of the Association of Young
Monegasques at the Galerie du Métropole, under the patronage of His
Serene Highness Prince Rainier III of Monaco.
1996 Exhibited on the occasion of the 15th
Anniversary of Salons of Prestige of
the Académie Artistique du Lys. Presetantion
of the guests of honor of
previous Salons exhibitions—in Barbizon, France.
1997 Exhibited
(another rendition of?) 14 paintings of the Stations of the Cross in the
Church of Saint Nicolas, for the Espace Culturel Fra Angelico
Monaco,
under the patronage of His Serene Highness, Prince Rainier III of
Monaco.
Exhibition ran through January and February of 1997.
1997 Exhibited 14 paintings of the Stations
of the Cross and donated them to
the Church of Costa Rica—under the patronage
of the Ambassador of
France and director of the Alliance Française. Presented to Monseñor
Román Arrieta Villalobos, archbishop of San José,
Costa Rica.
1997 One-man
show at Galeria Melia Carriari of
San José, Costa Rica.
1998 Participated as a judge in an
exhibition about The Dance, at the National
Theatre of San José, Costa Rica—under the high patronage of His Serene
Highness Prince Rainier III of Monaco.
2003 – 2010 Several one-man exhibitions at Galleria Jan in La Jolla, CA
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