When the first post-war paintings of the American school were exhibited in Paris, viewers were not struck by a pictoral revolution such as had already been accomplished by the French lyric abstract painters. The techniques were the same: splashing, dripping, trickling.
Between 1945 and 1956, supporters of figurative art and the exponents of lyric abstraction struggled in a select milieu. The Galerie Drouin, Place Vendôme, became the centre of their world. After an exhibition dedicated to Wols, the works of Manessier, Le Moal, Singier and Roger Bissière were displayed.
In February 1947, the Galerie Lydia Conti opened with an exhibition of Hartung. In a few months, the educated public discovered Atlan, Bryen, Michaux, Soulages, Schneider, Bazaine, Germain. In December 1947, critics began speaking of lyric abstraction.
Jacques Germain was a student of the Academie Moderne, directed by Fernand Léger and Amédée Ozenfant, when Blaise Cendras and Fernand Léger, in 1931, advised his parents to send him to Bauhaus. He arrived in Dessau in October 1931 and stayed there for two terms. He was the only French to study in Bauhaus. He returned to Paris by bicycle in July 1932. In October of the same year, he left again for Germany, where he studied with the constructivist painter Willi Baumeister in Frankfurt.
When the Nazis came to power, he returned to Paris and worked in advertising. In September 1936, Jacques Germain completed his military service. The war broke out a few years later, the artist was taken prisoner and remained in captivity for three years. On his return to France, he dedicated himself to his painting. In 1949, he held his first personal exhibition in Paris.
Jacques Germain participated in many international exhibitions.