Jean Moal

Jean Moal (October 30th 1909, Authon-of-Pole - March 16th 2007, Chilly-Mazarin) is a nonfigurative painter French of the News École of Paris.

Biography

Jean Moal is born in 1909 with Authon-of-Pole (Eure-et-Loir) where his/her father, of Breton origin is named, after a first station with Saint-Pierreville (Ardèche), as engineer of Public works. After new assignments of his/her father, in 1910 with the Mans, in 1914 with Seyssel (Haute-Savoie), it passes, during the War, two years years its family maternal with Saint-Pierreville then in 1915 remains lengthily in his/her paternal grandfather with Brest. Little auprès its return in 1919 to Seyssel, his/her mother dies of an embolism and Jean Moal is starting from 1923 intern with the college of Annecy, during three years. He discovers in 1924 the Sculpture, draws and copies Gravure S, carries out plaster low-reliefs, ground sculptures and medals. Come with Lyon in 1926 to follow there to the School of the Art schools of the studies of architecture, interested rather by the sculpture, Jean Moal fits finally in the section of interior architecture, attends the museum where it is initiated with the history of the Peinture, and reads works of Élie Faure. It paints in 1928 its first fabrics, on the reason, in Brittany.

When it settles in Paris in February 1929, Jean Moal copies fabrics with the Louvre (Cézanne, Jean Siméon Chardin, Renoir, Rembrandt, Murillo, Poussin) where it meets and binds with Alfred Manessier. He draws simultaneously the naked ones in the Academies of Montmartre and Montparnasse (Othon Friesz) and painted dead natures. He goes on in 1932 journeys in Belgium and Holland of which he visits the museums, and in 1934 in the south of France, with Manessier, then in Brittany, painting his last realistic fabrics. In 1935 Jean Moal discovers with Barcelona the Catalan frescos . It meets and binds with Jean Bertholle and the sculptor Etienne Martin. With Manessier, it is registered with the Académie Ranson, where Roger Bissière opened a workshop of Fresque, after having taught the Peinture there. He becomes the massier and works about it simultaneously in that of Sculpture, directed by Charles Malfray under the patronage of Maillol, in company of Etienne Martin and François Stahly.

To the sides of Bertholle, Bissière, Manessier, Etienne Martin, Stahly, Nicolas Wacker Moal exposes with the " group; Testimony " , animated by Marcel Michaud, which brings together painters, sculptors, musicians and writers, at the time of his first demonstration in Lyon in 1936 with the Living room of Fall, then in Paris in 1938 and 1939. In 1937, it works with the decoration of the House of the Railroads (Felix Aublet, Bissière and Robert Delaunay) of the International exhibition of Arts and Techniques of Paris, with in particular Bertholle and Manessier, then carries out with Jean Bazaine a wall panel for the House of the Inns of Youth. In 1939 Moal carries out a mural for the school of Eaubonne (Val-d'Oise) then collaborates with Bertholle and Zelman in the realization of a ceiling of 1400 m2 of the French House of the Wines in the World Fair of New York (Herbé and Zehrfuss architects) and takes part in its installation. It creates then its first decorations and costumes for the Four Season old Theater (Jean Dasté, André Barsacq and Maurice Jacquemont) by which it accompanies like manager the round in Burgundy. Mobilized in with Draguignan, Jean Moal regains after the demobilization Brittany then accompanies in Lyon Maurice Jacquemont which wants to create there new a Four Season old Theater for the free Zone and dedicates himself during two years with the creation of decorations and costumes.

First demonstration under the Occupation of the painting of avant-garde, the exposure of the " Twenty young painters of French tradition " organized by Bazaine, with in particular Bertholle, Lapicque, Moal, Manessier, Pinion, Singier, with the Braun Gallery in 1941 was a way of expressing against the ideology Nazi E which condemned " the degenerated Art ". It is during this time which constitutes what one will call the News École of Paris, whose Moal will be one of the major representatives. After new exposures of " Témoignage" to Lyon, Jean Moal returns in 1943 to Paris with Maurice Jacquemont, for whom it carries out the decorations and costumes of " The star of Séville" (Lope de Vega) with the Studio of the Fields-Elysées. After a stay with Valves, it regains Paris and flees the Service of obligatory work by joining Saint-Pierreville. It takes part in the exposure " Twelve painters of aujourd'hui" , prefaced by Gaston Diehl and denounced by the press of collaboration, with the Gallery of France inaugurated in 1942, which will become one of the high places of the nonfigurative Peinture. In 1944 Jean Moal marries Juana Muller, sculptor of Chilean origin and takes part in 1945 in the first Salon of May, of which it is one of the founding members. It exposes in 1946 with Manessier and Singier to prestigious Galerie Drouin.

In 1948 Jean Moal engages in a series of engravings (Burin S and etchings) which it will continue until 1951. It carries out in 1949 new decorations and costumes for the dramatic Center of the West and the Studio of the Fields-Elysées. While it presents in 1950 a personal exposure to the Billiet-Caputo Gallery, several tapestries are carried out according to its models, for the State-owned furniture, by the tisserands Plasse it Caisne which it presents to Manessier (they will construct thereafter the whole of its work woven). It takes part in " 1951" presences; , inaugural exposure of the new Gallery of France of Myriam Provost and Gildo Caputo and make a first stay, in the Chilean painter Eudaldo, with Alba-the-Roman which attend of many artists, in particular Ginés Parra and Stanley Hayter, and where it will not cease returning regularly. Thanks to the Ledeur canon, he sees himself entrusting restorations of churches (with Maîche and Vercel).

His wife, the sculptor Juana Muller, dies in 1952. “From this painful period, work thereafter will not carry any trace. No revolt, no pathetic of surface will come to direct the development of it. Moal in its creative activity remains the man of a perfectly effective secrecy: this long retirement becomes little by little for him the occasion of a reflection on oneself and a deepening of the pictorial means. Whereas all believe it stopped, they is precise at this time which it takes again its walk ahead and penetrates in a kind world again that it had hardly foreseen”, Camille Bourniquel will write. As from 1955 Jean Moal carries out, during four years, decorations and costumes for the Comédie of Saint-Etienne of Jean Dasté. He carries out in 1956 an exposure to the Gallery of France and a first Vitrail, for the Notre-Dame church of Rennes and in 1957 works with the stained glasses of the Baptistère of the Saint Martin's day church of Brest (for which he carries out others in 1961 of them), to those of the Crypte, with the Pavement and a mosaic mural for the Église of the Sacred Heart of Audincourt. With Manessier it also constructs in 1958 the stained glasses of the Notre-Dame vault of the Pouldu.

After exposehaving again exposed in 1959 to the Gallery of France, Jean Moal joined in the Years 1960 the Gallery Castling where it côtoie Jean Bertholle and Elvire Jan. In 1965 large a Tapisserie for the chorus of the Notre-Dame church of Rennes is carried out by the Plasse workshops it Caisne. Jean Moal leaves the same year to South America (Chile, Peru) to accompany a road show there French painters. In 1966 it composes a mosaic for the French college of Brussels and works with stained glasses for the Saint-Louis church of Besancon, then of 1968 with 1972 with the stained glasses of the cathedral of Saint-Malo (300m ²).

Having simultaneously installed a workshop with Alba it Roman, Jean Moal painted there each summer of the fabrics of large sizes, on the topics of the the Andes, the sea or the seasons, which are again exposed with the Gallery of France in 1974. Of 1978 with 1990 it constructs the stained glasses of the cathedral of Nantes (500m ²). In its monumental work, these large canopies constitute its major work. The richness of the nuances and the tonalities, adapted to the various parts of the building, do not harm of anything the spiritual vocation place, quite to the contrary. Moal knew, in Nantes, like Manessier with Abbeville, to respect architecture and to avoid transforming a church into gallery of Article Whereas a table has as an end to seldom be here rather than there, On the other hand a building is binding on the artist when it composes his models: the stained glasses must be made for this architecture, which requires at the same time control and humility, virtues which Moal reconciled in the Saint-Pierre cathedral.

Of 1985 with 1987 Jean Moal still works with the stained glasses of the cathedral of the Saint-Dié-of-Vosges, in company in particular of Manessier, Bazaine, Lucien Lautrec and Elvire Jan. In margin of any intention Symbolist like any only decorative aiming, its work, according to Jean Moal, “must above all create, in a given space, a light such as one is seized by (one) climate, of prayer for those which wish to request, of rest, silence and gravity for those which do not request”.

After many retrospective exposures, in France and abroad, as of the Years 1960, in 1970 and 1971 (museums of Rennes, Chartres, Rouen, Dijon, Lille and Caen, then in 1990 - 1992 (Lyon, Besancon, Luxembourg, Dunkirk and Nantes), the museum the Mob with Vannes devotes to Jean Moal an exposure, " The invitation with the voyage" , in 2000. It makes in 2006 part of the painters brought together for the exposure " Lyrical flight, Paris 1945-1956" presented to the Museum of Luxembourg (Senate), ( Composition, 1955, Neighed Onstad Kunstcenter, Oslo): {{ISBN|8876246797}}.

Jean Moal dies on March 16th 2007 and is buried with the Cimetière of Montparnasse.

Work

1928-1942

In 1928 Jean Moal paints during the summer in Brittany its first two fabrics on the reason, in the neighborhoods of the native village of his/her father, Lampaul-Plouarzel. In the following years it carries out studies of naked and a Autoportrait, dead natural and several series of landscapes, with Saint-Pierreville and in the Vallée de Chevreuse in 1933, Provence and with Camaret in 1934. Moal gives up the following year painting on the reason, carries out with Vannes desert compositions of boats and Menhirs then in Paris a picassic Composition which, articulated with a will cubist of construction, falls under the climate of a Surréalisme diffuse. the strange serenity of the Mystery expressed in a rigorous and plastic form : thus Moal summarizes it in 1936, in the advertisement of an exposure of Témoignage , the step which is his and which still animates the gouaches as well as paintings that he arrives, in spite of the shortage of fabric, to realize in Lyon between 1940 and 1942, whereas he is absorbed by the creation of decorations and costumes for the theater.

1943-1951

After a stay in Brittany Moal painted in 1943 with Saint-Pierreville, around his memories of Valves and of the landscapes of High Ardeche, of the fabrics which express a turning in its work. Of return in the Morbihan, the boats, the quays and the villages of which it makes many sketches start to constitute one of the poles of its creation, the other developing around an “Interior” series of with the female figures, in which space is structured by broad balanced plans, highly brushed. Camille Bourniquel is the first, as of 1946, to analyze the quality of the moment which emanates from these Intérieurs : “When Moal paints an interior (...) it gives the indication of the incommunicable secrecy to us, the secrecy of the life day laborer. A charm is tended in front of the fabric, and inside, from one object to another: these objects and the being which they surround seem dependant by a secular adventure. Time used certain angles, a communication became possible between these foreign things one with the other”. Throughout 1944 Moal develops in painting its Breton sketches of quays and boats, trees and low walls of stones ( Paysage of autumn of the Museum of Valves, Conleau of the Museum of Rennes). In the following years the structures of the masts and headlights ( the invitation with the voyage , 1945) or armchairs and objects familiar ( Still life with the map of the world , 1946 - 1947) meet and merge in autonomous rates/rhythms, leading to the painter way nonfiguration ( abstract Composition , 1949).

1952-1957

Starting from 1952, after one period of exploration of the possibilities of this new language, Moal engages in two essential topics, boats and ports ( Souvenir the Crotoy , 1954) on the one hand, undecided silhouettes of the trees ( the trees , 1952 - 1953, of Neighed Onstad Kunstcenter of Oslo) on the other hand, which converge in the emergence of a common writing, structured by the verticals and the horizontal ones, the obliques and the curves. By parcelling out space, they unify the field of the fabrics, take possession of their very whole surface and constitute a screen which, released from any allusion, retains nothing any more but the pure luminous glares of the moments of the day and the seasons ( Midsummer's Day of summer , 1955, of the Museum of Dijon).

1958-1965

In 1958 Jean Moal at the time of redécouvrir the landscapes of its childhood ( High-Ardeche , 1958). The animated world of the rocks, the sources ( the source, 1959) and of the roots ( Roots, 1958-1959; Roots and water , 1959) encourage it to soften, simplify and gradually erase the graphics hitherto accentuated of its fabrics to diversify the routes and the variations of the light. More and more I test the need to draw by the key and by the interior of the form , he entrusts then. In the dash of the unstable masses of the color crossed by gullyings of a dynamic graphics from now on, its fabrics seem to make appear, beyond the spectacles of “naturée” nature, the mobile play of elementary energies of a nature continuously “naturante”. The emergence of this new writing will make it possible Moal to differently approach the marine element ( the Ocean , 1958-1959, of the Museum of Quimper; the Waves, 1959, of the Museum of Metz) like the metamorphoses of the light to the length of the cycle of the seasons ( Flora , 1960, of the Museum of Lyon). The last punctuations which crossed its fabrics as tension fields blur soon and disappear, the keys passing the ones in the others in vibrating fringes which complete to dissolve any linear structure ( sea in Brittany , 1962 - 1963, and Collines and spring , 1960-1963, of the Museum of Freiburg).

1965-1974

After a voyage during the winter 1965 - 1966 in South America, the visions which Moal of the landscapes of the preserves the Andes will resound during more than one decade in its painting. “I reported of it a kind of bursting of these burned grounds, something of blazing, in the intensity of the light”, says it. Incandescent, yellow and orange reds, streamings of greens, which the shades of the purple ones answer, invade its fabrics ( Towards Machu Picchu , 1966, of the Museum of Rennes; burned Grounds , 1970 - 1971, of the Museum of Luxembourg). This renewal is expressed not only in the blooming of the color, beyond of an often night range in the previous years, but still in the monumental formats which approaches Moal ( Intérieur , 1966 - 1967; museum Tamayo of Mexico City; Interior or Homage to Matisse , 1972, of the Center Pompidou; Archipelago , 1972 - 1973, of the Museum of Dunkirk). “Where are the Chile, the Peru, in the new tables of Jean Moal? (...) Of water, Jean Moal will paint the blue mobilities and transparencies. And of the glare of a landscape, it will paint the blaze spouting out with a brush of fire. (...) No one could see in these tables another thing only of painting, of the very raw painting and very fresh, which invents itself its structure and its logic”, Jacques Michel notes.

1975-1988

On the dash of its exposure in 1974 to the Gallery of France, Jean Moal will continue to carry out paintings of large sizes, in which the Andes re-appear in the middle of these familiar topics, marine and terrestrial spaces. In 1988, After the storm will be its last fabric. During these years, parallel to its constant work in the field of the stained glass, it multiplies what it familiarly calls its “small sizes”, of which the first go back to the Années 1960.

Judgments

“These sources sharp, the permanent contact with nature, and not the representation of the nature, which at so much of figurative painters betrayed, ultimately, a radical divorce of with nature, an incomprehension of its major heart and even of its essential forms, at the same time sensory and emotional contact, such as could have it Corot, inspires very as much as Bazaine or a Estève, Moal, this Breton which associates with such an amount of clearness and calm precision a Celtic imagination and a quivering perception of the world. A certain relationship with Bonnard, in the vibrating sensitivity, but also the will to exceed Impressionism, to surmount what could be only play, to fix in an architecture of the coloured masses impressionist flicker, to lock up readily reducing forms in strict contours, of a ductile, but firm geometry.”

Maurice Brion (1956)

“For the nonfigurative painter nature becomes again the place even of the spiritual analogies, the image of the deepest identity of the spirit and the matter in upward path. these movements can be those of the branches of a tree, stones at the bottom of a torrent, clouds driven out by the wind above the scrubland, they are offered to us in the whole similarity of a creation ever completed, in a to and from of a cosmic amplitude which never marries the rate/rhythm even spirit in rest.”

Camille Bourniquel (1960).

“Ports Breton, trees of the Scrap-metal of the West, Picardy strikes , all nature sings the same melody as a minor as the pieces of furniture, the humble household utensils, the lamps, the maps of the world, the books, of which it populates his scenes of intimacy (…). Nothing small, however, nothing shy person in these works. Their will of architecture would be enough to make avoid these dangers. (...) From these architectures at the simple and many rates/rhythms, that vivifies a light very right, a feeling emerges, from pleasant ease, sober elegance, of purity especially, which makes think of Braque, with Seurat, with Corot, all these representatives of the tradition “racinienne” of France to which Moal is the heir.”

Bernard Dorival (1963)

“the art of Moal is an example of the contribution of the language of the abstraction to French painting, or contrary to the contribution of French painting to the abstract art. It subjects neither to the pure expression forms, nor with the only subjective message: human and communicative art, it widens by its beauty and its interior quality our perception of the life.”

Hans-Friedrich Geist (1961)

“the problem which arises for Jean Moal the cathedral of Nantes east to give time a sufficiently large light in the chorus to support the clearness of a vessel of 107 meters. It takes the party to keep clear colors in the chorus and the déambulatoire not to be in rupture with the nave. Moreover, in order to densifier the stained glass without forcing on the color, it uses the greyness in a very constant way. The cathedral, placed in height, in addition, is located in a released space, no construction coming to obscure the interior. The use of greyness then makes it possible to avoid at the building being too much dazzled. The highest parts, receiving a sharper light, thus require more greyness. Moreover, to agree to the blazing Gothic architecture, Jean Moal chooses a quality of blazing color itself, playing with " notes majeures" , heats, and of the " acuter notes and more froides" , the whole treated in an ascending rate/rhythm in balance with the rise in the pillars. (...) Jean Moal is interested particularly in the large pink of the Western frontage. He thus re-uses the pieces of old glass in his nonfigurative composition. Moreover, it designs the stained glass of the pink like an echo with those of the chorus. The colors are answered between the two parts of the building.”

Helene Claveyrolas

“If the painting of Jean Moal is not built decoratively starting from a fixed vocabulary of figures, lines, spots or gestures, it describes neither the shores of Brittany, neither the hills of Ardeche, nor the plate of the Andes which the fabrics evoke in their titles. In a more complex way and more enriching, at the time of different landscapes, it is the painting which the painter each time sees differently. In front of the provocations of the world which wakes up actively its work, graphics tight of the gréements or the trees, more tormented shapes of the sources and the torrents, the garrigues and the rocks, pure lights of the ocean or the summer, it is, beyond of a simple multiplicity of visions, some new dimension of its language which he learns how to recognize. Moving its attention, modifying the freely open balance of the elements which compose it, it is an new approach of visible which it can then discover. (...) With the length of a work which extends on the biggest part from the 20th century, (...) contrary to any representation of reality, vain imitation or timid transposition, schematization, Moal metamorphose the exercise of its art in the direction of the purest presentation. Not only it seems one of the essential inventors, in the Forties, of the not-figurative glance but still does not cease, in the following decades, to vary from it focusing in a seizure with more acute measurement to be it the visible one.”

Michel-Georges Bernard (2001)

Creations for the theater and works monumental

Decorations and costumes

1939 : the Drinker filled with wonder , comedy of Nino Franck according to Holberg, Theater of Four-season (round in Burgundy).
1941 : the Star of Seville , adaptation of Albert Olivier according to Lope de Vega, Theater of Four-season (Maurice Jacquemont), Lyon; Studio of the Fields-Elysées (Maurice Jacquemont), Paris, 1943. Jeanne d' Arc , of Pierre Schaeffer and Pierre Barber, Young France, Lyon.
1942 : Charlotte Corday , of Drieu La Rochelle, Theater of Four-season, Lyon.
1945 : Gueux with the Paradise , adaptation of Andre Obey according to G. Mr. Martens, Studio of the Fields-Elysées, Paris.
1950 : the Leghorn hat , of Eugene Labiche, dramatic Center of the West, Rennes.
1951 : Weddings of blood , Federico Garcia Lorca, Studio of the Fields-Elysées, Paris.
1952 : Intermezzo , of Jean Giraudoux, dramatic Center of the West, Rennes.
1955 : made Advertisement with Marie , of Paul Claudel, Comedy of Saint-Etienne (Jean Dasté).
1956 : The Brothers Karamazov , adaptation of Jacques Chip according to Dostoïevski, Comedy of Saint-Etienne.
1957 : the Miracle of Notre-Dame , Comedy of Saint-Etienne.
1958 : the Life is a dream , of Calderon, Comédie of Saint-Etienne.

Mosaics

1966 : mosaic (3,60 X 8,50 m), French College of Brussels, Silvestri workshop.
1972 : College of Uckange (the Moselle), Anne realization and François Moal.

Tapestries

1946 : the gathering of the fruits (1,80 X 2,20 m), Workshops of Aubusson.
1948 : Curtain of Scene of the Studio of the Fields-Elysées, Paris.
1950 : the Comedy (2,50 X 1,80 m), Plasse workshops it Caisne, State-owned furniture; the Tragedy (2,50 C 1,80 m), Plasse workshops it Caisne, State-owned furniture.
1951 : the Forest , Plasse workshops it Caisne.
1952 : the Gulf of Morbihan , workshops of Aubusson.
1962 : Spaces (2,20 X 2,50 m), Plasse workshops it Caisne.
1965 : tapestry (7,40 X 2,40 m) for the chorus of the church Notre-Dame, Rennes, Plasse workshops it Caisne.
1988 : tapestry (3,40 X 3,60 m), realization Christine Giraudon Plasse it Caisne.

Stained glasses

1956 : Notre-Dame church, Rennes (Ille-et-Vilaine), canopy of the chorus (9 X 4 m), glass and lead, workshops Jean Barrel.
1957 : Saint Martin's day church, Brest (Northern Finistere), four stained glasses for the baptistry (3,20 X 0,85 m), glass and lead, workshops Jean Barrel.
1957 : Church of Audincourt (Doubs), sixteen stained glasses for the crypt (0,75 X 1,25 m, paves glass, workshops Jean Barillet.
1958 : Notre-Dame vault of Peace, Pouldu (Finistere), in collaboration with Manessier, three stained glasses, glasses and lead, workshops Jean Barrel.
1961 : Church Saint Martin's day, Brest (Finistere), seven stained glasses for the chorus (4 X 1,10 m), glass and lead, workshops Jean Barrel.
1962 : Brood Carmes, Villa of Meeting (47, rue Chardon-Lagache, Paris 16th), in collaboration with Manessier, a stained glass, glass and lead, workshops Jean Barillet.
1962: Church of Saint-Servan-on-Oust (Morbihan), in collaboration with Bertholle and Elvire Jan, four stained glasses for the transept (1,85 X 0,95 m and 3,20 X 1,40 m), glass and lead, workshops Bernard Allain.
1964 : Vault of the Retirement, Rennes (54, rue Saint-Hélier), a stained glass (2,15 X 1,98 m), glass and lead, workshops Bernard Allain.
1966 : Church of Vercel (Doubs), two stained glasses for the chorus (4 X 1,65 m), glass and lead, workshops Bernard Allain.
1966: Saint-Louis church, Besancon, Doubs, Rémy architect Caisne, installation in collaboration with the architect of the vault of week (furnace bridge, a stained glass), structures of the lighting dome the high altar, baptistry-fountain, three stained glasses for the nave and two oculi in frontage, glass and lead, workshops Bernard Allain.
1968 - 1971: Saint-Vincent cathedral, Saint-Malo (Ille-et-Vilaine, together of stained glasses for the chorus, rosette and gallery (6,5O X 9,50 m), three lancets and eight stained glasses side, together of the stained glasses for the déambulatoire and the transept, glass and lead (500 m2), workshops the Knight.
1978 - 1988: Cathedral of Nantes (Loire-Atlantique), twenty-nine stained glasses for the chorus and the déambulatoire, three stained glasses for a vault of the déambulatoire, glass and lead (500 m2), workshops the Knight.
1982 : Church of Valréas (Vaucluse), three stained glasses, glass and lead, workshops the Knight.
1985 : Church of Notre-Dame of the Spine, Berlens (Swiss), two stained glasses, glass and lead.
1985 - 1987: Cathedral of Saint-Dié (the Vosges), four stained glasses, southern arm of the transept, glass and lead, workshops the Knight.

List of works of Jean Moal in the museums of the world

Selective bibliography

Three painters. Moal, Manessier, Singier , text of Camille Bourniquel, Drouin Gallery, Paris, 1946.
Camille Bourniquel, Jean Moal , the Museum of Pocket, Editions Georges Fall, Paris, 1960.
Moal , foreword of Luigi Carluccio, Bussola, Turin and Galerie Pogliani, Rome, 1961.
Jean Moal , foreword of Hans-Friedrich Geist, Overbeck-Gesellschaft Lübeck, Lübeck and Kunst und Museumverein Wuppertal-Barnem, Wuppertal, 1961.
Jean Moal , foreword of Jacques Lassaigne, text of Denys Knight, Gallery Castling, Paris, 1962.
Moal , foreword of Bernard Dorival, Museums of Metz, Metz and Musée of State, Luxembourg, 1963.
Jean Moal , foreword of Henry Galy-Carles, Marbach Gallery, Paris, 1964.
Jean Moal , foreword of Henry Galy-Carles, Gallery Call und Fertsch, Frankfurt, 1967.
Jean Moal , foreword of Jean Guichard-Meili, House of the Viscount, Melun, 1968.
Jean Moal , foreword of Gaston Diehl, text of Maurice Jacquemont, documentation joined together by Michel-Georges Bernard, Museums of Rennes, Chartres, Rouen, Dijon, Lille and Caen, 1970 and 1971.
Moal , foreword of Jean Guichard-Meili, Gallery of France, Paris, 1974.
Jean Moal , foreword of Jean Guichard-Meili, Abbey of Bellelay (Swiss) and House of arts, Sochaux, 1975.
Group Testimony, 1936-1943 , Museum of the Art schools, Lyon, 1976.
Jean Moal , foreword of Pierre Brisset, Gallery Castling, Paris, 1982.
Jean Moal, Jean Arena , foreword of Rene Déroudille, Castle of Simiane, Valréas, 1984.
Jean Moal, Jean Bazaine, Alfred Manessier , foreword of Jacques Sauvageot, Gallery of the Art schools and Maison of lawyer, Nantes, 1985.
Naked , come-and-a drawings of Jean Moal preceded by a glance of Andre Guégan, Editions Carries South, Paris, 1986.
Jean Moal , foreword of Jean Veillet, administrative Center, Mantes-the-Pretty, 1986.
Genevieve Adze, Jean Bazaine, Jacques Bony, Gerald Collot, Dominique Gutherz, Elvire Jan, Lucien Lautrec, Jean Moal, Alfred Manessier, Claire de Rougemont, models of the stained glasses of the cathedral and works recent , text of Jean-Pierre Greff, sacred art in France since 1939 , Museum of Saint-Dié, the Saint-Dié-of-Vosges, 1988.
Marcel Michaud, Lyon, 1933-1958, Stylclair, Testimony Group, Gallery Folklore , texts of Bernard Gavoty, Lyons Space of Contemporary art, Lyon, 1989 (76 p.).
Jean Moal , preliminary of Thierry Raspail and Odile Plassard, introduction of Jean-Jacques Lerrant, foreword of Michel-Georges Bernard, Lyons Space of contemporary art, Lyon, Museum of the Art schools and archeology, Besancon, Gallery-House of the culture, the Esch-on-Alzette (Luxembourg), Museum of contemporary art, Dunkirk and Château of the dukes of Brittany, Nantes, 1990 - 1992.
Lydia Harambourg, Jean Moal , in the School of Paris 1945-1965, Dictionary of the painters , Ides Editions and Calendes, Neuchâtel, 1993.
Jean Moal , foreword of Francis Villadier, texts of Alin Avila and Michel-Georges Bernard, Museum of art and history, Meudon, 1997.
Jean Moal , foreword of Andre Guégan, texts of Marie-Francoise Saux, the Mob-Museum of Valves, 2000.
Michel-Georges Bernard, Jean Moal , Ides Editions and Calendes, Neuchâtel, 2001.
Alain Vollerin, the Testimony group of Lyon , Memory of Arts, Lyon, 2001 (120 p.).
Stained glasses from here, stained glasses besides , matter of artists prefaced by Annie Delay, Editions Complicities, Grignan and Angle Contemporary art, Saint-Paul-Three-Castles, 2001 of Jean Moal with Christine Vaque, August 21st, 2001, p. 17-20.
Bertholle, Moal , foreword of Michel-Georges Bernard, House of Arts, Antony, 2003.

Radio and catalog of films

Jean Moal , arts and people, emission of Pierre Descargues, France-Culture, September 24th 1990.
Jean Moal , arts and people, emission of Pierre Descargues, with Alin Avila and Valère Bertrand, France-Culture, April 20th 1997.

Jean Moal , text of Robert Hammer, Painters of today, production Jacques Simonnet, 1962.
Jean Moal , the Forum of arts, emission of Andre Parinaud, Antenna February 2nd, 17th and th 1974.
Jean Moal , Portrait of artist, realization of Thorn-Small Liliane, production RTL, 1978.
Moal 85 , film and video, realization Pascal Bony, Gresh production, 1985.
Jean Moal , discussion with Bernard Gavoty, realization of Alain Vollerin, Memory of arts, Lyon, 1989.
Jean Moal, 20 years of painting, ELAC 1990 , introduction of Odile Plassard, discussions with Rene Deroudille and Jean-Jacques Lerrant, realization of Alain Vollerin, Memory of arts, Lyon, 1990.
Jean Moal , realization of Catherine Berthelot, production Pierre Roustang, 1991.
Jean Moal , audio-visual Encyclopedia of the contemporary art, Imago, Paris, 1996.

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