Joined the collection in 2018

Allen
Jones

Allen Jones, born in 1937 in Southampton, is a major figure in British Pop Art. He is known for his sculptures and paintings that explore sexuality and popular culture. He is famous for his iconic sculptures of women in provocative poses and his controversial works.

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Oeuvre d'Allen Jones, Femme Assise, d'un rouge vif !

Allen Jones studied painting and lithography at Hornsey College of Art in London before continuing his studies at the Royal College of Art, where he was a contemporary of artists such as David Hockney and R. B. Kitaj. As early as 1961, his work attracted attention at the Young Contemporaries exhibition, which marked the beginning of British Pop Art.

In 1963, Jones received the Young Artists’ Prize at the Paris Biennale, and in 1986, Allen Jones was elected a member of the Royal Academy of Arts, official recognition of his influence and major contribution to British art. From 1990 to 1999, he served as a trustee of the British Museum in London.

Jones has exhibited internationally in solo and group exhibitions, including several personal retrospectives. His works are held in numerous prestigious collections, including those of the British Museum, the Tate, and the National Portrait Gallery in London, the Calouste Gulbenkian Foundation in Lisbon, the Stedelijk Museum in Amsterdam, the Museum of Modern Art and the Whitney Museum of American Art in New York, the Chicago Museum of Art, the Sculpture Garden in Washington, D.C., the Vancouver Art Gallery, and the Nagaoka Museum in Japan.

Allen Jones draws inspiration from modern art (Robert Delaunay, Fernand Léger), gestural abstraction (Jackson Pollock), and popular and illustrative art of the 1940s and 50s, merging these influences to create a unique style where figuration and abstraction coexist.

Jones

In the gardens of Vullierens Castle, Allen Jones’s installation Seated Woman blurs the boundaries between sculpture, design, and provocation. Created in his bold and distinctive pop style, the work plays on the ambiguity between object and human figure. The woman, stylized and sensual, becomes a functional support: a chair, a piece of furniture that is as thought-provoking as it is seductive. Jones challenges our perception: is it still a sculpture or already a consumer object? Behind the brilliant and colorful aesthetic, he questions the place of the female body in society and its relationship to image. Seated Woman is at once seductive, ironic, and unsettling, emblematic of an era where art serves as a critical mirror of popular culture.