Frederic Blaimont painted his first oil painting at the age of 10. 
At 18, he received his first professional degree in painting and decorating. 
In 1966, after a preparation at the atelier Met of Penningen, he entered the École NationaleSupérieure  des Arts Décoratifs of Paris.

Then, following the advice of one of his illustrious teacher, Jean Picard Ledoux, he joined the Bale Kunstvewerbeschule, a school influenced by the Bauhaus.

Frédéric Blaimont lives and works in the Landes.

He started his professional career in the 70s, in advertising and the teaching of graphic arts.

Frédéric Blaimont is a member of the Taylor Foundation and shows in a number of galleries in France and abroad.

He has the sharp eyes of great predators.

On the lookout for what could be his prey, incognito, casually, he casts, on his contemporaries, a look pregnant with envy, malice, wisdom, irony.  With no second thoughts, he captures them, not as a caricaturist might, (he does not exaggerate them), but as a witness of his time, mindful of only grasping the momentary truth, delivering it unvarnished to his viewers hungry for unusual images.

His paintings show an accuracy that hits the mark every time, an angle which captures the human in its singularity while underlining our relationship with the body, a relationship of which our western civilization cannot really be proud.  The ravages of junk food or overeating are blatantly obvious in these paintings, without any complacency. 

Each one of us has already crossed paths with Frédéric Blaimont’s models,  these average couples whose tragic presence we must acknowledge, no matter how hard.

The world is strange, unusual, at times grotesque, this is what the painter stresses ceaselessly.

He works as a reporter from yesteryear, when speed had not yet captured the media world, like Albert Londres, an investigative reporter, for example, who could immerse  himself in a subject until he had extracted its deepest reality.  His works will allow you to leisurely criticize the supposed deliquescence, the faults and the ridicules of today’s world. One of the qualities of his work is allowing the viewer to grasp the world in its complexity. It’s not the only one. We find in Frédéric Blaimont’s a real aesthetic and plastic exigency of which we must stress the boldness:  the vivid colors, the plain backgrounds, the  silhouettes at times drawn, at times painted, the monochromatic play, instill an extra dose of poet

The narration aims to tell the essential but with chosen words.