Born in 1947 in Brive la Gaillarde (France). Jean-Pierre Rodrigo’s parents were both Spanish Republicans in exile in France: his father was from Madrid and his mother from Catalonia.

Jean-Pierre practised drawing and music, then he took technical studies and industrial arts.

He made a musical career both in a jazz band and with a pop group, playing the trombone, the flute and writing music arrangements.

In 1969, in Brive,  he met Pierre Betz’s grand daughter, France Labertrandie. They married in 1971, in Souillac (France), the city where, in 1936, Pierre Betz had founded the artistic and literary review, Le Point, and which he had run until 1962.

The couple settled in Cahors in 1973. Jean Pierre was then asked to set up the city’s School of Music, an institution he managed from 1973 to 2007. He has been the leader of Cahors Swing Machine Big Band ever since 1975.

Along side, in 1976 he took up painting, tackling two fundamental themes: architecture and archaeology.

As construction arts, both music and architecture have defined the two structural elements, either real or imaginary which have since been making up an important part of the artist’s pictural vocabulary.

From 1999 onwards, Rodrigo’s painting has opened up to both Spanish literature and painting: to Cervantès (Molinos para el Quijote from 1999 to 2003)and to Goya (Escenografia 2002) and Greco (Toledo 2005).

In 2003, France (Youyou), his wife, died. That very year, Rodrigo paid homage to her in a suite still in progress: Les cactus de Youyou et Figues de moro (2006).

Coming in a variety of forms, like series and even suites, most of his works have been carried out on paper; canvas and wood being reserved to large formats.

The artist has been making use of acrylic paint and at times of Indian ink, and mainly of brushes, sponges, ink rollers, scrapers and pads; he has frequently used adhesives and tapes and techniques like collage and stapling.

Yellow and red ochre, a wide range of greys and blacks are prominent in his painting
s. The colour White used as a marking, plays a major role in his compositions by creating reserves. It stands out as a basic feature of his morphological language.

In 2004, Jean-Pierre Rodrigo started modelling his first ceramic sculptures (Arqueologia). Since then he has achieved Cantir (Gargoulette catalane, 2005) as a counterpoint to the series painted on that theme, Làlilàba (2007), Castells d’aigua, Escudos (2009) and Cactus(2010).

Main themes and series from 1976 to 2000:

- Vernacular architecture (Séchoirs à tabac 1976, Séchoirs à Maïs 1984, Pigeonniers,1993)

- Classical architecture (Monumenta, Palais 1979, Villa Romana 1985)

- Italian renaissance (Sbozzo di Poggio reale, Progetto di Fortificazione 1989, Omaggio a Bramante 1992, San Lorenzo Firenze, Villa Palladiana 1993, Arqueologia, Pla d’excavacio 1996)

- Gardens and patios (Parc Château de Marly 1984, Palazzo con giardine, Barcelona patio 1991, Hortus conclusus 1996, Patios 1995-1998).



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