Jean-Marie Vives


“I started Art School at the age of just 14, and I left 6 years later as an illustrator. In 1979 during an exposure which I took part in, gave me the opportunity to meet people working in the cinema. With nothing to lose, I followed them and I started to paint on glass. I have never followed a career plan and have always let myself be carried by the wind. The cinema, and matte painting in particular, taught me the techniques, and with the years I matured to be able to give an acceptable wisdom to the art form. ”

To see some samples of his  recent work, visit his site:

-Un long dimanche de fiançailles (2004) (digital matte painter)
-Fabuleux destin d’Amélie Poulain, Le (2001) (digital matte painter)
-Brocéliande (2002) (special effects)
-Petit poucet, Le (2001) (matte paintings)
-The Messenger: The Story of Joan of Arc (1999) (matte painting director)
-The Ninth Gate (1999) (matte painter: Duboi)
-Peut-être (1999) (digital set designer)
-Couloirs du temps: Les visiteurs 2 (1998) (matte painter)
-Alien: Resurrection (1997) (digital matte painter)


-Femme de chambre du Titanic, La (1997) (digital matte painter)
-Cité des enfants perdus, La (1995) (digital matte artist)
-Les Visiteurs (1993) (matte painting director)
-Jean Galmot, aventurier (1990) (matte painting)
-Bunker Palace Hôtel (1989) (mate painting)


- La Vie est un Roman (1983) (matte painter)

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