{"id":10976,"date":"2012-02-16T02:56:19","date_gmt":"2012-02-16T02:56:19","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=10976"},"modified":"2025-09-24T21:18:03","modified_gmt":"2025-09-24T20:18:03","slug":"jacques-brissots-hay-wain","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2012\/02\/16\/jacques-brissots-hay-wain\/","title":{"rendered":"Jacques Brissot’s Hay Wain"},"content":{"rendered":"

\"brissot1.jpg\"<\/a><\/p>\n

The Hay Wain (1973) by Jacques Brissot.<\/em><\/p>\n

Another post intended to encourage further investigation. Searching for Jacques Brissot’s art is a problem since the French artist (born 1929) gets confused with the French writer Jacques Pierre Brissot (1754\u20131793). Details about Brissot the artist are also scant:<\/p>\n

Jacques Brissot lives and works in Paris. He began his career as a film maker (his movie Egypt O Egypt<\/em> was selected as the official French entry for the Cannes Film Festival). Later, his unique form of artistic expression, a reinvention of the most dramatic masterpieces of the past through collage, relief, over-painting etc., led to his immense success as a visual artist. (more<\/a>)<\/p><\/blockquote>\n

\"brissot2.jpg\"<\/p>\n

Anyone familiar with art history will recognise Brissot’s Hay Wain<\/em> triptych as being a Surrealist updating of the\u00a0Hieronymus Bosch triptych of the same name<\/a>: a side-by-side comparison shows that many of the details are carefully matched. (In Brissot’s version Christ in the clouds appear to have been replaced by Sigmund Freud.) The copies here come from Temptation<\/em> (1975) edited by David Larkin. In the same book there’s also a panel from Brissot’s Garden of Earthly Delights<\/em> (1973). Judging by the works visible on auction sites<\/a> Brissot has continued his meticulous collage work to the present day but there’s a surprising lack of attention outside the marketplace. Works such as this<\/a> deserve to be seen in greater detail.<\/p>\n

\"brissot3.jpg\"<\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The fantastic art archive<\/a><\/p>\n

Previously on { feuilleton }
\n\u2022 The art of Jind\u0159ich \u0160tyrsk\u00fd, 1899\u20131942<\/a>
\n\u2022 Initiations in the Abyss: A Surrealist Apocalypse<\/a>
\n\u2022 Vultures Await<\/a>
\n\u2022 Wilfried S\u00e4tty: Artist of the occult<\/a>
\n\u2022 Illustrating Poe #4: Wilfried S\u00e4tty<\/a>
\n\u2022 Metamorphosis Victorianus<\/a>
\n\u2022 Max (The Birdman) Ernst<\/a>
\n\u2022 Gandharva by Beaver & Krause<\/a>
\n\u2022 Fantastic art from Pan Books<\/a>
\n\u2022 The art of Stephen Aldrich<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

The Hay Wain (1973) by Jacques Brissot. Another post intended to encourage further investigation. Searching for Jacques Brissot’s art is a problem since the French artist (born 1929) gets confused with the French writer Jacques Pierre Brissot (1754\u20131793). Details about Brissot the artist are also scant: Jacques Brissot lives and works in Paris. He began … Continue reading “Jacques Brissot’s Hay Wain”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,1029,44,18],"tags":[3358,69,3357,3359],"class_list":["post-10976","post","type-post","status-publish","format-standard","hentry","category-art","category-collage","category-painting","category-surrealism","tag-david-larkin","tag-hieronymus-bosch","tag-jacques-brissot","tag-sigmund-freud"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2R2","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10976","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=10976"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10976\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=10976"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=10976"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=10976"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}