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Alain Bertrand

more dreamlike than purposefully nostalgic of the american culture.”

Michel Gu├ęgan

Directorate of Communication


New York, Cuba, the great American West, the atmosphere of a coffee shop, a jazz dive…

For twenty years, Alain Bertrand has been taking us on a trip through the bygone sixties observed through his personal vision, more dreamlike than purposefully nostalgic of the american culture.

We’re seated beside him in that Cuban Chevy, that New York Checker, that Greyhound bus parked next to a gas pump during a stormy night. Like him, we’re strolling Times Square looking for that melodic wiff of Music Hall, like him we’re cruising lost somewhere out in Arizona where nothing ever happens.

It’s hard to understand Alain Bertrand’s vision and passion without considering the American myth. Such as he experienced daily, waving to passing Gis in their Jeeps from Evreux as a teenager, listening to their rock records and smoking their king-size cigarettes.

At the same time the Hollywood studios vaunted a triumphant America, gay, glamorous, crawling with huge shining cars and a glamour which contrasted so directly with a destroyed Europe, prisoner of it’s own devastated dreams. Alain Bertrand knows perfectly how to recapture that comfortable America full of strength and confidence that fills our childhood dreams.

The power of his canvases is his ability to entice us, hearts racing, into a paradise that, just for several moments, has not yet totally vanished.

Michel Guégan