Jean-Paul Jérôme co-signed, alongside Jauran, Louis Belzile, and Fernand Toupin, the Manifeste des Plasticiens in February 1955. The next year, he travelled to Paris, where he stayed until 1958. Back in Canada, Jérôme lived in Montreal and continued to paint until his death in 2004.
Jérôme’s aesthetic influences came from early- 20th-century art currents such as Cubism, Futurism, Geometrical Abstraction, and the Russian avant-garde. However, his Parisian stay also had a major impact on his career. During that time, he met several artists from Galerie Denise René, then considered the leading gallery of the European avant-garde. Among them, Richard Mortensen and Auguste Herbin had an important influence on Jérôme throughout his career.
Although the paintings of this particular period are not widely known, they demonstrate Jérôme’s mastery of technique at a time when an eminently more personal production emerged, based on skilfully structured flat areas of contrasting colours. Untitled (1995), an acrylic on shaped canvas, is liberated, so to speak, from all plastic constraints. The four indentations intensify this sense of release, while the usual flatness of his surface endures. His relief paintings in the years that followed, however, would provide an altogether different aesthetic experience.
Jérôme absolutely deserves to be recognized as a contemporary frontrunner of the Constructivism.