Press about  Jean Verame's works

2000

"Les Grands Chantiers intemporels de Jean Verame" Article by Alain PAGETZ published in January in PROFIL Paris.

 

1999

"Muy interasante, Madrid.

"Paesaggi d'autore appeared in FOCUS, Milan, June 1999.

 

1998

"Danièle GIRAUDY publishes" Bank of samples ", in TECHNE N ° 8.

 

1997

"The project of the Painter Jean Verame arouses the debate" Provence, Marseille, November 25, 1997.

"Conference" Jean Verame- Homme- Artist "La Provence, Marseille, November 22, 1997.

"The Blue Color", appeared in DADA, in October 1997.

 

1996

"Maroc" appeared in ATLAS Air Charter.

"Camille BERTO publishes in Le Méridional" Jean Verame - He transfigures the Universe. "Marseille, March 11, 1996.

 

1995

"Jean Verame, Cutouts of infinity" by Laurence PYTHOUD, appeared in L'ŒIL. October 1995, Paris.

 

1994

"Daniel and Emmanuelle MINASSIAN publish: In the heart of the Alpilles, Visit to the Painter and Sculptor Jean Verame" The Man Whose Workshop is the Desert ".

"Maison Selection N ° 17 April / May 1994, Toulouse." .. But what will push Jean Verame to grapple with the rocks of the desert: a taste for the exploit,

of adventure, of the media effect, of provocation? None of this, the process will be purely personal and the deep commitment will respond to a long

quest for total sincerity. Each site where he will intervene will see a passionate adventure, an encounter with a place, but also with oneself, a trip to

end of oneself.

 

1993

"" Artist's House "by Gonzague SAINT BRIS, in Femme. Neuilly sur Seine, November 1993.

"The New York Times Magazine. New York, September 12, 1993." The Sophiscated Traveler, a Maroccan paradise regained "by Michael MEWSHAW,

... As described in guidebooks, the project sounded sophomoric, but one could never have imagined the dramatic impact of mister Verame’s work.

Giant monoliths, painted black dotted an arid plain that glittered with specks of mica. Oval rocks, aqua in color, gargantuan in scale, lay heaped in piles;

Isolated boulders sculptured by wind, resembled bluebirds about to take wing. An enormous cross formed by red and black stones loomed above a boulder

in Easter egg stripes. "

"" Paths of art: Say! where is the peace? "by Stani CHAINE for Dada, first art magazine for children, N ° 4 June 1993, Lyon.

"" Face Value "by Rémy RENAL for American Express Expression Magazine. U.S.A, April - May 1993.

"" When Painting is Art "Conseil Sols et Murs N ° 42 425, May 1993, Gentilly.

"" Rear Satan "by Gérard BESSIERE for La Vie N ° 17105. Paris, February 25, 1993.

"" Sentinel: Un jour, un Peintre "by Joyce DELIMATA for the first children's art magazine Dada. No. 2 January 1993, Lyon.

"" La Basse Nubie en Bateau à Aubes "by O.M. for Epansion Voyages N ° 39. Paris.

 

1992

"Idéart N ° 31 November-December 1992. Paris.

"" Les Pierres Bleues du Déset en Tournage "Moroccan Press. November December 1992.

"" Jean Verame or the Obsession of Infinity "by Catherine CAZALE for Next Quarterly review of art and culture. Rome, September-October 1992.

"" Des Bateaux Hauts en Couleurs "Sea and Boats. September 1992.

"" From the Wreck to the Work of Art "by H.H. for Sails and Sailboats. August 1992.

"Jaqueline BROTTE writes in L’accent de Provence (July / August):" Jean Verame: Painter to the end ".

"Without denying his passion for the stones of Sinai or Tibesti, the painter of the great outdoors has just produced a card game with magical figures.

A totally new and unexpected visual concept. Stubbornly away from the listed currents of contemporary art, Jean Verame persists in working

for years alternately in the studio and in the natural space. If his interventions in Sinai, in southern Morocco and in Tibesti, have earned him

international notoriety, they were above all the basis of new approaches, more inventive, more creative, responding to its pressing need to

only really exist when it enters fully and voluntarily into a zone of turbulence. "

"The Fourteenth Estivales Photographiques du Trégor: The Photography and the Landscape West France, July 6, 1992.

"" A Climber, an Artist and the Peaks of Perfection "Henri SUTTON for The European London, July 2-5, 1992.

"" Boats, Works of Art "Boats, July 1992.

"" Cockles in oil "L.M.- GAMMA for Le Matin (the daily novel). Lausanne, May 29, 1992.

"" Two other Projects for Jean Verame "Telegram from Brest, May 11, 1992.

"" Cloar Carnoët: the Painters received in Town Hall "Le Télé

gram of Brest, May 8, 1992.

"Verame brings dead Boats back to life. Quimperlé: Contemporary Art Festival." By vincent THAERON, Ouest France, May 7-8, 1992.

"" Jean Verame: Art in the Open Air. "And" Jean Verame: the Painter of the Desert in Saint Maurice. "La Liberté. Quimperlé, May 7-8, 1992.

"" Jean Verame: Art in the Open Air. "And" Jean Verame: the Painter of the Desert in Saint Maurice. "Liberty of Morbihan. May 7, 1992.

"" Mai des Avennes: Horizon Lines on Vieilles Coques. "by CL. LASBLEIZ. The Telegram, May 7, 1992.

"" Jean Verame in Saint Maurice: Boats of All Colors. "Ouest France, April 30, 1992." Jean Verame has been hard at work since yesterday, facing

the entrance to the Abbey of Saint Maurice, where he will paint old boat hulls. (...) As I walked along the coast, the idea took hold in me to paint

boats, the choice of Saint Maurice was then imposed: the site is magnificent. Once painted, the boats, currently dry, will be cranked and put back on

the sandbank to float on the high seas "

"Stop on Image" L'Express.Paris, January 16, 1992.

"Jean Verame painter to the end" by J.B., Le Figaro Méditerranée. January 4, 1992.

"Verame" Ikebana Ryusei. Tokyo, January 1992.

“To Lua é Azul?” Os Caminhos da Terra. Sao Paolo, Brazil, Agence Gamma

 

1991

"Art swells us." Paris Match, December 19, 1991.

"Aéronart, les Montgolfičres d’Artistes." By Frederic PAUL. Art and Values of December 1991.

"Jean Verame: Painting the Blue Desert." Marseilles Côte, Otobre 1991.

"Air in the Service of Art." New Central West Republic, September 1991.

"Verame: the Great Game" VSD. Paris, August 3, 1991.

"Paris- Dak’Art" Georges PICQ, 4x4 Magazine, January 1991.

"De Paysage en Outre Pays" by Augustin BERQUE, "le Débat", Gallimard. Paris, N ° 65 May / June 1991.

 

1990

"The Pharaohs exploited the Turquoise Mines of Sina & iulm;" Here is December 30, 1990. Insert by Jean Verame.

"" Verwunschene Felsgebilde und ein Vergessenes Volk "by Werner GARTUNG Frankfurter Rundschau, Frankfurt am Main. No. 301 of December 28, 1990

"" A Little Art in the Dakar "France Soir Ouest. Paris, November 10, 1990.

"" New York: Exposition Pierre et Paix "Elle. Paris, December 3, 1990.

"" Le Pari Dak'Art de La Défense "by Philippe MARTINEAU. Figaro- La Defense CNTT, November 12, 1990.

"" Jean Verame: from the Desert to the City. "by Philippe MARTINEAU. Le Figaro, Paris, November 1990.

"" Desert "by Bernard HEITZ Télérama, Paris, October 17, 1990.

"" Nomades "Télé-loisir. Paris, October 15, 1990.

"" And the Color was. "Afrique Magazine, October 1990.

"" Jean Verame: The sand all in technicolor. "PHOTO. Paris, August 1990.

"" Verame: Painter on Nature. "By Florence SANDI, Le Quotidien de Paris. Paris, August 23, 1990.

"" Hell of the Mountains in Tibesti. "Art and values July / August 1990.

"" Porcelain: les Temps Modernes ". By Colette GOUVION, Vogue decoration June / July 1990.

"" The Greats and the Others. "" Knowledge of the Arts. Paris, June 1990.

"The" Jean Verame, Tibesti "by Pascal Bonafoux published by Skira is not really a monograph, but we will not resist the enchantment exerted by

this coloring of large rocks in the desert near Bardaď. It is quite out of the ordinary and of a singular poetry that nomads accustomed to

may understand more instinctively and more deeply than we do "

"" Rock Dancer. "by Hervé HAUSS, New Look. Paris, June 1990.

"" What do the Nomads think of the Paintings of Verame? "Actuel, Paris, May 1990.

"" French painting on the Rocks of Tibesti. "Craft Building, April 1990.

"" Figures: They make Paris. "by Florence MENDEL, Express- Paris. Paris, February 23, 1990.

"" Jean Verame: A painter sets out to Conquer the Desert. "by Vinciane MOESCHLER, La Tribune des Arts, February 7, 1990.

"" Roll of honor. "by DEL MARLE for Demeures et Chateaux de France, January-February 1990.

"" Stic B: Paintings of Peace. "by Franck HAMAIDE, Lettres du Sponsoring et du Méçénat. Special issue Phénix 89, January 15, 1990.

"Geo atlas of Nations N ° 37, January 1990. Cover photo.

"" Painting: Jean Verame le Megalo. "Main Lines. Paris, January 1990.

"" Operacion Tibesti. "by Jean-Claude FRANCOLON, Geomundo.

"" Operation Tibesti. "By Jake FENWAY, Scape. U.S.A., 1987.

"" Genis Genis Bir Tuval "For Men, Istanbul.

"" A Landscape Painter "by Catherine GAYNOR, The Regent Magazine. London." French artist Jean Verame has the strange, possibly unique ability to

perceive in rocks and mountains artistic shapes and forms that he brings vividly to life with huge quantities of paint (...) His most recent mammoth

undertaking was last year, when he ventured into the heart of Tibesti, an arid volcanic area of Chad, central Africa, a country which had barely recovered

from a long period of conflict with Lybia. After three month of hard labor in the desert, Verame created quite literally a monumental work of art ".

"" Editorial "Jacques GLENAT, Vertical of October 27, December 21, 1989.

"" In 3000 years this Fresco will fade away. "New Look. Paris, November 1989.

"Le Tibesti de Jean Verame". The Paris Daily. Paris, October 7, 1989.

"Paris," Jean Verame "." By Pierre BRISSET, L’oeil. Paris, October 1989. "We prefer Verame his bronzes, some of which are two meters high.

that Alain Houdin presents to us today in his new gallery against a backdrop of photos from Tibesti. (...) No more connection here with his "great shows"

dazzling and inhuman but, however monumental they can sometimes be, sculptures on our scale, truncated bronze menhirs,

unevenly worked with violent chisels, distant, very distant descendants of the stone megaliths of Carnac, colored, patinated with the same

blue so widely used in the Sinai desert as in the heart of the Anti-Atlas ".

"The Visionary of the Desert." By Eric de SAINT ANGEL, VS.D. No. 630. Paris, September-October 1989. "A few weeks earlier, there was nothing.

a plain of sand, rocks and pebbles was coming to die at the foot of the cliff, that was all. Further on loomed the volcanic heights of a hostile massif, two

times as large as the Pyrenees, the Tibesti, and five km to the north, was Bardai, a charming oasis before the war. Bardai on the edge of the desert, with its

ruins of houses and its palm trees toasted by the napalm (...) Since then, south of Bardai something has changed, men have pitched tents, built

scaffolding, leaning ladders against the cliff and they began to paint (...) In N’Djamena, Hissein Habré keeps himself informed at all times,

gets photos sent as the work evolves and becomes more diverse. Today, 35 km from the Lybian lines, a unique site in the world has replaced the

napalm burns and bomb and rocket craters. Where before there was nothing but the ugliness of war, Verame has captured the beauty.

"" Colors at Tibesti. "A.F.P., September 8, 1989.

"" Blue Like the Desert "by Gérard DUROZOI, Nouvelles Clés N ° 6: June / July / August 1898. Cover photo and article.

"" The Painted Desert "Scope, September 22, 1989.

"" Noch Eine Geschichte "by Walter TECKLENBURG Echo. Germany.

"" 20TH Century Rocks "by Jean Claude FRANCOLON Australia.

 

1988

"Jean Verame" L’Humanité exhibition. Paris, June 22, 1988.

 

1987

"" The standing stones of Jean Verame "by Alain PAIRE, LE PROVENCAL, Marseille, July 4, 1987.

 

1986

"" Orsay Yesterday and Today. "by Christian PELLERIN, CREE. Paris, 4th quarter 1986.

"" Jean Verame - New mountains. "by Stéphane RONA, + - 0. Brussels, February 1986.

 

1985

"" In Saint Remy, the Man who painted the Desert Blue. "by Véronique PRAT, Le Figaro Provence. December 7, 1985.

"" The Orsay Museum as a Gift Package. "Nice Matin. Paris, November 24, 1985.

"" Paris, to send Nineteenth Century Art on American Tour. "A.F.P., International Herald Tribune. October 26-27, 1985.

"" 7th District, End of a Curse. "by Raymond PRONIER, Le Matin de Paris. Paris, October 8, 1985.

"" A Verame Canvas for the Orsay Façade. "Le Monde. Paris, October 4, 1985.

"" A Tchador for Orsay. "L'Humanité. Paris, October 2, 1985." "Fifteen months from its opening to the public, the Orsay Museum asserts its presence in

the Parisian landscape by exhibiting on its facade a giant canvas by a contemporary artist, Jean Verame. Chosen by the Museum associated with the Sari Seeri group,

An investment executing company for this project, Jean Verame is an artist who thinks big. It is he who in the desert of Sinai colored the rocks

in blue or red tones to accentuate the landscape and give another dimension to a natural site ".

"" Orsay: the Canvas Facade. "by Claude HELEU, Le Quotidien de Paris. Paris, October 1, 1985.

""

A Giant Canvas in front of the Orsay Museum "by Pierre BRETON, A.F.P .. Paris, September 30, 1985

"" A 1,500-square-meter Canvas on the Orsay Museum. ", Le Parisien Libéré. Paris, September 25, 1985.

"" Orsay Station covered with a Canvas painted at the end of September. ", Parisien Libéré. Paris, July 29, 1985.

"" Photo: Jean Verame. ", Les Cahiers de Printemps. Reims, April-May 1985.

"" Entriamo Nel Quadro Piů Grande del Mondo. "by A.S., Epoca. Italy, March 15, 1985. Photographer Manuel Litran." Verame é un tipo aperto, un uomo

lontano dal cliché sofferto dell’artista abituto a commerciare con i fantasmi delle cose é non con le cose. Con un piccolo punto di contatto pero: Il suo

intervento sul paesaggio mira, infatti, a sottrarlo alla realta, a condurlo lontano, fino a farlo rientrare in cuello spazio remoto che si misura solo nel sogno o

nel ricordo "

"" Technicolor, the Magic Mountain. "by Franco SPARAFUCILE, New Look. January 1985.

"" Verame: a Wonderful Delirium. "Galerie des Arts. Paris, January 1985.

 

1984

"" Rocks, Marble and Brass. "by Jeanine WARNOD, Le Figaro. Paris, December 12, 1984.

"" A Painter in Sinai. "By P.D., Le Monde. December 1, 1984.

"" From Desert- Art. ", International decoration. Paris, December 1984

"Paris:" Jean Verame ". By Gérard DUROZOI, L’oeil. Paris, December 1984

"   "Malls. "by F.D., Photo Revue. December 1984

"" Verame ", Le Quotidien de Paris. Paris, November 28, 1984.

"" Verame "Le Point. Paris, November 19 to 25, 1984.

"" A Belgian Artist Paints Land Crusts. ", France Soir Magazine. Paris, November 25, 1984.

"Paris:" Verame and the Enchanted Desert ", by Luc VEZIN, Beaux Arts. Paris, November 5, 1984.

"" The Madman of the Desert. "by Catherine TERZIEFF, 7 in Paris. Paris, November 1984.

"" The Earth is Blue like an Orange. ", Maison Française. Paris, November 1984.

"Exhibition:" Jean Verame, a Singular Painter of Landscapes. "by Pierre BRETON, A.F.P .. Paris, November 1984.

"" Jean Verame, the Painter of Still Life. ", Nice Matin, September 18, 1984.

"" The Enchanted Desert. "by Manuel LITRAN, Paris Match N ° 1834 of July 20, 1984." Until now, Verame had only used blue and black which he stippled

small touches of red. Blue was - and remains - her favorite shade. Color of the sky and the sea, it is not found on the surface of the earth

closed. An absence which gives the sites painted by Verame their enchanted, almost magical aspect. Here, to invent this supernatural oasis, he alternated

four colors. (....) For the first visitors, amazement mixed with admiration. Failed to understand how five lonely men had

could achieve this work, Parisian artists, traders from Casablanca, Moroccan shepherds, primitives, or supremely aesthetes were all dazzled by this

new "mystery". "

"" A work of Jean Verame in southern Morocco. "by Pierre BRETON, A.F.P .. Paris, July 1984.

"" The Man Who Paints the Rocks. ", Le Midi libre.

 

1983

"" The painted stones of Jean Verame. "by Elizabeth SKIDMORE SASSER, Artspace Southwestern Contemporary arts quarterly. California, Winter 83-84:

Photo on the cover of the journal and Article. "... Verame’s dialogue with stones began two decades ago in the south of France, where he had gone to pursue

a career as a painter. Like so many artists in the restless years of the sixties, he found himself imprisoned by the limiting dimensions of his canvases, the

walls of his studio, and the enclosed spaces of galleries. He began to take long walks, picking up stones which took his fancy. (...) Corsica was succeded by

a venture which led to West Texas and the Ranch of Stantley Marsh III (...) Verame found a valley walled in on either side by cliffs and, occasionally inhabited

by wondering cattle (...) Designated boulders were moved and set in position at the canyon bottom. The seventeen stones inplanted vertically in the ground

seemed to have existed in situ since the last glacier melted and left them standing like pieces on a giant chess board "

 

1982

"" Jean Verame: Painting "in situ" by Anne GABRIEL, Canal. Paris, N ° 45-46 April 1982. Photo on the cover of the review and Article: "... By the same gesture

de Verame gives painting its full meaning: transforming a lived time into a living space: photography also testifies to the invitation that is

made, here, to be able to make our own dream space "

"Exhibition in Paris on the Paintings of Jean

Verame in South Sinai. "By Pierre BRETON, A.F.P .. Paris, March 1982.

"" Sinai in Blue. ", Connaissance des Arts. Paris, March 1982.

"" It works for them, Jean Verame. "Him. Paris.

 

nineteen eighty one

"" Blue in Sinai. "by René CENNI, Nice Matin. June 28, 1981." ... It was wrong to doubt, Jean Verame- a young artist of Belgian origin living in

Paris- has indeed painted the Sinai. or more exactly, he produced a cyclopean pictorial composition on the 90 km2 of a desert plateau at 1500

meters above sea level and about 30 km from the mountain of Moses. He didn't comb the giraffe. He didn't produce one more streak for "amazing

but true. "He did a work of art and in the full sense of the term."

"" A Desert of many colors. "by Pearson PHILLIPS, Telegraph Sunday magazine. London, March 15, 1981." To see the latest wonder of the world requires

a treck to one of loneliest, emptiest spots on earth. In the Southern Sinai peninsula, near the montain down which Moses is reputed to have come with the

stone tablets of the law is a large plateau littered with huge smooth lumps of granite up to 150ft. high ".

"" Sinai: lassů and tutto dipinto di blu. "R. d. A., Corriere della sera illustrado. Rome, March 1981.

"" Sinai ", Ad Dastour, London, Vol 11, March 1, 1981.

“Cover insert.” Al Majalla, No. 54, The International News Magazine of the Arabs. From February 21 to 27, 1981.

"" People ", Time Magazine. New York, February 2, 1981." It was an uncontrollable instantaneous vibration that struck Belgian Artist Jean verame, 44, in the

Sinai Desert. “the Sinai's relief is crazy, it’s density is fabulous.” He simply had to paint it. But not on canvas. The artist’s plan was to decorate the desert

specifically, the 5 sq. mid. Plateau of Hallaoui) with patterns and fields of cobalt blue. "

"" Three religions under one roof in Sinai. "by Serge DIOR, Nostra. January February 1981.

"" The Man who paints Sinai. "by Marie Thérèse de BROSSES, Paris Match. Paris on January 23, 1981. Photos Manuel Litran." Under the transparent sky of the

desert, earth and rock merge in a subtle symphony of pink ochres that the shadow comes, over the hours, to gully puddles of deep purple.

Finally pacified, the Sinai desert sleeps under the sun. (...) Yet a few kilometers away, a wind of madness seems to have fallen on this monochrome landscape.

Gigantic blue spots, a dazzling blue, always the same, or black, burst the landscape. No, it's not a mirage: the mountains are

painted. (...) When the peaks of Mount Rushmore were carved in the likeness of American presidents, it was declared that: "These testimonies of our

culture were most likely to reach the next century if a cataclysm swept away our civilization. If such a cataclysm should occur, we can

ask what significance archaeologists would give to Jean Verame's blue and black mountains "

"" Blaustich "by Rainer FABIAN, Stern. March 5, 1981, Photos: Manuel Litran." Eine Stunde später holpern wir mit dem Jeep durch die Mondlandschaft zu

dem Kunstwerk, das Weltweit umstritten ist, obwohl es bisher kaum jemand zu Gesicht bekommen hat. Der künstler Jean Verame, 44, hat den Sinai blau

gefärbt (...) Scheich Raschid Raschidi hoft, die blauen Berge als Touristenattraktion nutzen zu Können. Stolz zieht der Beduine aus seiner Brieftasche ein

Schreiben Verames, in dem ihm der weisse Mann das Exklusivrecht für Führungen vermacht mit dem Zusatz, darauf zu achten, dass "niemand auf die

bemalten Felsen tritt "

"" Blue Zone. "by Bernhard REIST, L’Illustré de Lausanne. Lausanne, 1981." Everything has been a miracle in my story ", explains J.V." Miracle of having been able to

get customs clearance, miracle of taming the administration, miracle of speaking to Sadat. It’s through his son, Gamal

el Sadat that I got the President’s agreement. However, I insisted on having a personal interview, I didn't want there to be any confusion and for him to imagine that

I was going to paint her or Begin's portrait on a mountain. "

 

1980

"" Sinai Painted in Blue. "A.P., Le Courrier de Genčve. Geneva, December 13, 1980.

 

1979

"" Around Us: Oil Painting "by CANDIDE, La Nouvelle République du Center Ouest. June 22, 1979

"" He wants to paint Sinaď in Blue "La Montagne, N ° 63. Clermont Ferrand, June 12, 1979.

"" Sinai in Painting ", Ocean Press: Western Resistance. Nantes, June 8, 1979.

"   "THE

e Sinai in Painting by French Artist Jean Verame. ", Le Progrès Egyptien .. Cairo, June 8, 1979.

"" Sinai in Colors, "The Journal of Egypt. Cairo, June 8, 1979.

"" A Belgian Artist is going to paint in Blue 50 km 2 of the Sinai. ", France Soir. Paris, June 7, 1979.

"" The Painter of Sinai. ", Valeurs Actuelles. Paris, June 4, 1979.

"" Paint the desert. ", by Bernard GAULIN and Patrice GOULET, Interior Architecture. Paris, May-June 1979.

"" Sinai in Blue. ", Christian Family. Paris, May 24, 1979.

"" Painting the Sinai. "by Jean VERAME, The Jerusalem Post. Jerusalem, May 16, 1979 (Artist's response to author).

"" Paint Sinai Blue. ", Le Monde. Paris, April 25, 1979." The painter Jean Verame is from the line of "landscape markers" as there are none

pain around the world for the past ten years or so. It was in 1974 that he began to take out the drawn and painted signs of his white canvases for

to inscribe in the real space of a landscape, in the Cévennes first, then in Corsica (1976) and in a way to appropriate pieces of nature

Savage. "

"" Story of a Blue Flemish. ", by Eve RUGGIERI, Elle. Paris, April 23, 1979.

"" Jean Verame: a Blue Peace for the Sinai. ", by Jeanine BARON, La Croix. Paris, April 16, 1979.

"" Peace in Blue. "by Odile VAN DE WALLE, Le Point. Paris, April 9, 1979.

"" Symbol of Peace: A French Artist Wants to Paint a Sinai Site in Blue. "Le Bien Public. March 24, 1979.

"" A site of Sinai Painted in Blue. "by Pierre BRETON, AFP. Paris, CP 27 of March 24, 1979.

"" He wants to paint Sinai Blue. "Le Soir, March 23, 1979.

"" The Blue Line of Sinai. "La Haute Marne Libérée, March 22, 1979.

"" The Project of a French Artist: Painting the Sinai Blue. "Nice Matin, March 22, 1979.

"" The Blue Line of Sinai. "Les Dépêches, March 22, 1979.

"" Painting the Sinai Blue "The Mountain, March 21, 1979.

"" Sinai’s Peace Junction. Jean Verame: Consciousness and Cosmic Memory. "by Alain MACAIRE, Canal, n ° 25-26, February-March 1979. Paris.

(Photo on cover page and article). "... Why here Jean Verame? Who is Jean Verame? For me, he is an artist in search of a desert,

other areas that still allow men to be guessed better than by dating, statements or writings, looking for signs that

we have to discover outside of movements, outside of judgments. The crossing of certain solitudes, of certain exiles, rejects us at the foot of the wall: everything

is to start, yet. "

"" Sinai Peace Junction. "by Eric ANCIAN, Asssociated Press, 328. Paris, March 1979.

"" Art of Peace. "by Ali MAHMOUD, Associated Press. Cairo.

 

1977

"" An artist leaves his studio ... "by Catherine CHAINE, Elle. Paris, June 27, 1977.

"" Jean Verame, Ratié Gallery. "Art Press. Paris, June 8, 1977.

"" From Mandrake to Cosmos. "by Pierre MAZARS, Le Figaro. Paris, April 9-10, 1977.

"" Verame: Space and Sign. "by Annick PELY, Le Quotidien de Paris. Paris, April 5, 1977." ... Personal cosmogony, signs of an interior space

projected, his canvases are the symbol of what he actualizes in reality on the scale of the landscape. "Multidimensional work in the Agriates desert" in

Corsica, blue massifs "... A work of" foresight and explorations in other spaces and dimensions "as underlined by Alexis’s film

Poliakoff.

 

1976

"" The Impossible Imagine. "by Jean-Pierre VAN TIEGHEM, Info Artitudes N ° 4." ... The paper, the canvas, and also the landscape (yesterday in the Cévennes, tomorrow in

the Sahara). Simply reality, within reach, in the field of sight, in CONSISTENCY. This is the land of signs / phonemes, the only units

distinctive. Jean Verame does not work on the landscape. He does not change it. He does it differently, with his human / poetic dimensions added to

natural / existence dimensions. If the world of signifieds is that of language, what could be the images where the signifieds exist outside?

language? These are the kinds of questions that Verame's multidimensional questions invite "

"" Jean Verame- Painter. Alexis Poliakoff-Filmmaker. "by Gérard DUROZOI, + _ O. Brussels, May-June 1976.

"" Jean Verame "by Gérard DUROZOI, Art Presse, January 1976.

 

1969

"ELLE magazine publishes on February 26:" Did you know him as a writer? "

 

1965

"Robert Kanters publishes in" reality ": Jean Verame" La Fortune des Fous "" Finally a first novel which is not "new novel". Verame

embarrass p

had formal research. His book is a cry of revolt, in the line of Céline and Henry Miller. "

"Bernard Thomas published in the Express from September 27 to October 3: '' After Celine and Miller," La Fortune des Fous "by Jean Verame". "There was Miller; there

had Celine. Maybe someday there will be Verame. If he comes out of his gangue, if he doesn't recover so much. From the first page, we are grabbed, jostled, carried away by

a frenzied story, drowned in a flood of words, also confused by the sincerity of the confession. "