Pierre Jacquemon in his art and life has chosen the steep and narrow path.  His talent was already discernable in the late nineteen fifties within a context of young French painting.  Had he so chosen, he could have remained, effortlessly, the foremost painter in Lyon and let it go at that.  Instead, he determined to live and work in New York, to measure himself by real standards and  do so without adopting the formulas upon which superficial acceptance and temporary success are often predicated.

            Two decades ago, young and tense Jacquemon in his self-search produced austere black-grey-white paintings to which color was admitted austere cautiously and apprehensively, as if it were tempting sin.  Ever so gradually, the painter's imagery became more explicit, his color richer, and his texture fuller.  As if emerging from  hidden places Jacquemon's pictorial content asserted itself with increasing urgency and now stands visibly defined life work may reach a point of nature equilibrium and bring to the fore a creative integrity at it fullest and best.  Pierre Jacquemon appears to have reached this phase.

                                                                                    Robert Weeden

                                                                                    New York, November 1981