Pierre Moreau

Before he became the artist our astonished eyes are beginning to discover, Pierre Moreau was, if anything, a true son de Pub for the last three decades of the century. Pierre Moreau stands for extreme simplicity or extreme complexity. The former requires simplicity, the latter a composition, well hierarchized to be assimilated. Now that he has turned his back on advertising and fashion to devote himself entirely to his art, this dual approach remains the constant in his creation. But before he entered the world of art, he captured on film the enthusiasm of the early years of European integration, with the giants of the time - Willy Brandt, François Mitterand, Paul Henri Spaak, John Glenn. Above all, it's a polymorphous talent that he exercises with virtuosity when the royal family entrusts him with their image. Or great artists like Olivier Strebelle, for whom he is the visual biographer with no fewer than 15,000 exceptional images. Even so, his preferred playground remained the great campaigns for which, at the time, nothing was too good and therefore too expensive, as long as it offered unrivalled expertise and exceptional results.
Then came digital technology, which is still revolutionizing the image. Until then, silver color was a standardized industrial product with definitively fixed properties, whose objective was color fidelity. But it's not the artist's job to render reality; he's there to impose his vision of it. Since it has been digitized, color photography has become a force to be reckoned with. From now on, Pierre Moreau's large-format works will be timeless in both pictorial and photographic terms, a dream world of print and poetry. Once again, the Maison de l'image introduces us to a major art form nurtured in the bosom of commercial art.

With poetry by Isabelle Bielecki.