Janine Delaporte was born in 1928 in Paris. Graduate of National School of Arts Décoratifs of Paris, she worked for years at Porthault's (house linen) and at Porcelaines de Paris (arts of table). It was not until 1970 that she specialized in the trompe-l'œil painting (eye-wash). The painter works from installations in work room that she herself sets up. She does oil painting, generally on wood.
Admire :
L'armoire aux rêves
Les Sciences
Salmigondis
La porte grise
Le temps
The "trompe l'oeil (French version on her site) :
"This expression "trompe-l'œil" (eye-wash) was invented in 1800 in France and refers to a very particular pictural genre. Its goal is to create an illusion of reality and alter your eye sight by tricks so much so that your attention is drawn to it, and finally surprised, as Janine Delaporte puts it, you are whisked away into a "metaphoric Universe".
Already frequently developed by ancient Greek or Roman fresco painters this style of painting sprang up again firstly in the Renaissance and secondly in 18th century. Like a marvellous wink of luck, the "Louvre" Art Gallery shows two paintings by an old master, Henri-Horace Delaporte (1724-1793) who devoted himself to the trompe-l'œil still life. He was contemporary with the painters Chardin and Greuze.
In the course of 20th century the Surrealist Movement found that kind of expression completely adapted to its excess and appropriated it to enrich its letters of nobility ; while many of its greatest painters tried themselves in with jubilation, some French poets invented the "trompe-oreille" (Guillaume Apollinaire), the "trompe-l'esprit" (Jean Cocteau) and the "trompe-cœur" (Claude Roy).
For already many years the trompe-l'oeil expression has been gaining a new shop window by showing on vast area, like on walls of our boroughs and more recently on canvas cover sheltering building or restoring sites. This process enables it to be better known amongst the general public.
The trompe-l'oeil art follows very precise rules. Subjects are represented in full-sized with each item neatly shown in the frame without any cutting. Even with the help of modern tools - for those resorting to infography, which is not Janine Delaporte's case - it requires an extreme meticulousness and a perfect mastering of the technicality of painting. For those painters who are masters in reproducing and thumb-nailing painting the creative genius lies in staging. Process that gives great values to their work." Paul J. Lickel
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