Rating and value of paintings by Jacques Blanchard

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Cote et valeur de l'artiste Jacques Blanchard   

Jacques Blanchard leaves behind an important body of work for his century. Now, prices for his works can be raised to the auctioneer's hammer.

His paintings are highly prized, especially by French buyers. The price at which they sell on the art market ranges from €40 to €2,710, a fairly substantial range, but one that speaks volumes about the value that can be attributed to Blanchard's works.

In 2007, his painting Nature morte aux abricots et cuivre (Still life with apricots and copper) sold for €2,710. Its value is high and stable.  

Order of value from a simple work to the most prestigious

Style and technique of artist Jacques Blanchard

Jacques Blanchard, a discreet but eminently singular figure of the twentieth century, has distinguished himself by a style in which light and matter converse with a rare intensity.

His technique is based on a subtle approach to color, which he modulates in muted and vibrant tones, according to harmonies that recall the lessons of the old masters, while transposing them into a contemporary sensibility.

Often working in oils, Blanchard explores the texture and density of the medium, which he deploys in controlled impastos or delicate glazes.

His compositions, both structured and ethereal, demonstrate a keen sense of pictorial rhythm, with each element interlocking with musical precision.

But it's in his treatment of light that his signature lies: a diffuse, almost palpable light that seems to emanate from the canvas itself, enveloping the forms in a singular softness.

This interplay between light and shadow lends his works a meditative atmosphere, where everyday life is transformed into visual poetry.

Blanchard, while remaining aloof from the noisy avant-gardes, is nonetheless a painterly alchemist, exploring the mysteries of color and light with silent rigor.

The life of Jacques Blanchard

Born in Chartres in 1912, Jacques Blanchard's work spans the 20th century in a pictorial tradition sensitive to light and texture.

Trained in a context where artistic approaches oscillated between classicism and the avant-garde, he drew on these multiple influences to develop a singular aesthetic.

His debut at the Salon des Artistes Français in the 1930s marked his commitment to a painting style with realistic and poetic overtones, emphasizing modest subjects with an almost tactile attention to materials.

This artistic choice, far from being a simple imitation of reality, seeks to transcend everyday objects to give them an autonomous, almost sculptural presence.

His works, often executed on a variety of supports such as cardboard or wood, reflect a constant dialogue between form and light. Light is omnipresent, shaping his compositions and underlining their pictorial density.

Blanchard is thus part of a line of painters who see the act of painting as a questioning of the materiality of the world, a quest for balance between precision of detail and freer gesture.

His career, marked by regular exhibitions and belated recognition, spans almost six decades. Blanchard combines a technical mastery inherited from the ancients with a discreet modernity imbued with introspection.

Through his compositions, he leaves behind a vision of the sublimated everyday, where each object, each shadow finds its place in a space that is both intimate and universal.

Jacques Blanchard's place in European still life

In Jacques Blanchard's work, the still life, which he inscribes in a filiation ranging from the Flemish masters to moderns like Paul Aïzpiri, seems marked by an oscillation between permanence and deconstruction.

Like Braque's compositions or Picasso's objects, the elements that populate Blanchard's canvases are not simply ornamental motifs.

They are part of an active materiality, where every contour, every texture, bears the imprint of meticulous work on light and density.

Fruits, objects and fabrics are arranged in an unstable balance, challenging the viewer to interpret them as tangible realities or pretexts for pictorial exploration.

Like the Flemish, for whom still life was a spectacular display of light and reflection, Blanchard exalts the sensuality of matter, becoming a contemporary of artists such as Guillaume Fouace.

Yet he breaks away from a preoccupation with descriptive fidelity, plunging into a subtle abstraction that, without achieving Cubist atomization, flirts with the dissolution of form.

This game, in which the object oscillates between recognition and obliteration, recalls the boldness of modern painting while paying homage to the solidity of European traditions.

For him, detail is never just a fragment of a whole, but becomes the fundamental unit of a composition in which each element dialogues with space.

In this, he differs from Paul Aïzpiriwhose vivid palette and free gestures privilege an abundance of immediate emotions, whereas Blanchard explores a calculated reserve, a subtle play of textures and shadows.

A contemporary of Vlaminck, he smoothed contours, unified colors and reordered composition. Each object, even the background, is assigned a weight in order to achieve perfect balance.

Blanchard restores still life to an ambiguous status, halfway between homage and questioning the very substance of things.

Blanchard's proximity to German still lifes and the Cubists

In Jacques Blanchard's work, still life is imbued with a silent gravity that is in dialogue with the German tradition, embodied by painters such as Bernhard Dorries. In the effervescence of the post-war years, this proximity hinges on a return to order, where forms are anchored in a clear, uncluttered composition, seeking to exorcise the recent chaos. Blanchard, like his German counterparts, gives objects a materiality that goes beyond their simple utility, setting them up as metaphors for a rediscovered resilience.

This tension towards a stable architecture of volumes is reminiscent of the attempts of the French Cubists, when deconstruction gives way to the desire to re-establish visual unity.

But where the Cubists transcended through the multiplication of perspectives, Blanchard and his German contemporaries invested the object with a sculptural, almost ritualistic weight, which seems to absorb recent history into the texture of its surfaces.

In this way, flat tints and contours define space not as fragmentation, but as repair, each line affirming permanence in the test of time.

This affinity is based on a shared vision: that of restoring visual density and symbolic weight to objects, as a response to the chaos and disorientation left behind by war.

In both Dorries and Blanchard, the formal language adopts a controlled austerity, where each element - a bottle, a plate, a cloth - seems invested with a meditative power, capturing the silence of invisible wounds. 

Far from expressive overkill, this return to order is not a simple nostalgia for the past, but a conscious effort to re-establish a lost balance.

Like the French Cubists during their phase of retreat to the fundamentals, Blanchard works the surface as a vibrant yet coherent entity, where contours no longer fragment space, but unify it.

However, whereas the Cubists explored multiple, fragmented perspectives, Blanchard and his German colleagues favored a sculptural, almost meditative unity, which charged the objects with the weight of history.

This visual language echoes the traumas of the time, reflecting a quest for permanence in a world marked by instability.

Every touch of light or variation of texture in Blanchard's still lifes seems to dialogue with the Germanic tradition, while at the same time asserting a French identity.

While the flat tints of color evoke the legacy of Cubism, the robust, almost tactile forms hark back to the neo-Baroque implicit in post-war German painting.

This contrast between solidity and fragility, between modernity and classical heritage, defines a visual space where the architecture of objects becomes the theater of collective resilience.

In this silent exchange between two artistic traditions, Blanchard demonstrates a unique ability to translate the heritage of his century while making it his own, reconciling French singularity with universal plastic thinking.

Recognizing the artist's signature

Jacques Blanchard often signs and dates his works. To be sure of the authenticity of your work, it is always preferable to have it appraised by an auctioneer.

Knowing the value of a work

If you happen to own a work by or after Jacques Blanchard, don't hesitate to ask for a free estimate using the form on our website.

A member of our team of experts and certified auctioneers will contact you promptly to provide you with an estimate of the market value of your work, as well as any relevant information about it.

If you wish to sell your work of art, our specialists will also be on hand to help you sell it at the best possible price, taking into account market trends.