Oil on Canvas
Marius Bosc was born in 1940 in San Francisco, California. A third generation San Franciscan, his family had immigrated to California from Southwest France before the 1906 Earthquake. Marius Bosc often says that he grew up in France on Oak and Masonic Streets in San Francisco where he lived with his parents, siblings and two French grandmothers. His family continued to speak French in the home and continued to maintain many of their French cultural ties and traditions. The culture of France transmitted by his grandmothers was a strong influence on his life and on his art.
After graduating from the Academy of Art College in San Francisco, Marius Bosc moved to New York City where he worked as a graphic artist and designer for the New York Herald Tribune. During his initial job interview he had stated that he was unwilling to compromise himself artistically and he was hired for that reason. At the New York Herald Tribune he created designs, illustrations and advertisements in an environment where he was able to freely express himself emotionally and artistically.
After leaving the New York Herald Tribune, Marius Bosc worked as a freelance graphic artist, creating illustrations and covers for various publications like Cue Magazine, New York Magazine, Holiday Magazine, Opera News, Harpers Bazaar, the New York Times and also for children’s books and textbooks.
After eight years working as a graphic-artist-designer in New York, Marius Bosc returned to San Francisco to pursue his first passion, painting. Initially devoting himself to painting flowers and landscapes, which were represented by Gumps Gallery, (the original Gumps), he later transitioned into figurative works. Often, people associate Marius Bosc’s figurative works with the Bay Area figurative painters, including Richard Diebenkorn and Nathan Olivera. Although, like these artists, he paints figurative works, his works stand out through his use of a bold spectrum of colors in unexpected ways and assured brushstrokes that create dynamic compositions.
To summarize a review in Earthquake Review of Marius Bosc’s 2009 exhibit “Eclat de Lumiere” at Dolby Chadwick Gallery, “Marius Bosc’s paintings are poised against loosely geometric backgrounds. His paint surfaces are luminous with brushwork that is inspired by Bay Area Figurative painting, but is obviously his own.”
Marius Bosc states that his paintings are all about expressing his sensations: sight, light, color, space and movement. It is in this context that his figures and flowers are to be seen and experienced. He emphasizes is work is about the human experience. This is what he is conveying through his art. He also explains that his work is very plastic like the light of the Mediterranean and the Bay Area. He says that such luminous and plastic light has inspired many artists like Tiepolo, Monet and Bonnard to create works of amazing beauty.
Marius Bosc paintings have been exhibited over the years in many notable galleries, including Gumps Gallery, Ira Wolk Gallery, Dolby Chadwick Gallery, and currently at Desta Gallery in San Anselmo. He has also been selected for numerous national juried competitions. His works have appeared in Art Forum, the DeYoung Museum, the New York Times and the New York Herald Tribune. His paintings have been acquired by many private collectors including: the late Environmentalist, Dough Tompkins, the late Stanley Eichelbaum, Drama Critic of the San Francisco Chronicle, Mr. and Mrs. Robert Mondavi, of Robert Mondavi Vineyards, Kei Yamagami, Designer, San Francisco.
Marius Bosc is currently focusing on his figurative work that continuous to be inspired by the luminous light of San Francisco Bay Area and his frequent travels to France.
When I was small, my French grandmother would bring me with her to the hotel that she ran that was located near the Ferry Building in San Francisco, near Battery, 4th and Folsom.
I can still feel myself standing in the hotel hallway, looking out at the pearl grey fog. I can still see the large rectangle of light that penetrates the dark, long, high, ceiling interior. It didn’t illuminate, except for the light-filled rectangle stepping into the darkness….. the beauty of it touching and moving across the inside; like an animal it moved in, quiet, silent and intense. It brought out what had been hidden from my eyes. Crossing my shoes it mounted the other side, went up the wall, bringing out the raised wallpaper. Maroon was revealed to me and stained, worn walls. It continued toward the ceiling and then in a flash of light and color it disappeared. Like an Italian aria or the music of Faure, to a tempo of its own, it revealed in a few seconds an extraordinary world, in an eclat de lumiere, a flash of light.
I am still standing in that hallway when I paint. In my paintings, I am always reaching back to that moment.