Biography - Jean-Claude Golvin (2025)

The birth of a passion

It all began around the age of twelve. Drawing, a true companion, accompanies Jean-Claude Golvin wherever he goes. Initially inspired by the comic strips of the time, his drawings allowed him to tell stories and cope with a deep sense of loneliness. At that time, Jean-Claude dreamed of becoming a comic book artist. Also trying his hand at caricature, his drawings gained some success among those around him, particularly with his father, who undoubtedly influenced him without realizing it. Over time, his passion for drawing intensified, and Jean-Claude envisioned himself as an artist. However, his world-renowned references made him feel as though he was aiming for an unattainable goal. The turning point came during his time at the École Normale in Algiers, from ages 16 to 20. Jean-Claude decided that drawing would be at the heart of his future career, and both his friends and teachers encouraged him along this path.

From architecture to history

Jean-Claude then decides to turn towards architecture. This choice was not by chance. His travels in Italy sparked his curiosity, and his older brother, who was seven years his senior, had begun his architecture studies in Paris. He therefore decides to enroll in the School of Architecture in Marseille, part of the École Nationale Supérieure des Beaux-Arts. Finding the theoretical courses insufficient, Jean-Claude decides to supplement his education by taking courses in history and archaeology at the University of Aix-en-Provence.He gradually paves his way into history and archaeology, as the profession of architect does not suit him once he starts practicing: he must make a new turn. His entry into the world of archaeologists was therefore through a less conventional path. Coming from a completely different background, Jean-Claude Golvin had to prove himself to be accepted among his peers. His efforts led him to complete a doctoral thesis in 1985 on the Roman amphitheater, earning the highest French university degree in history.

The Franco-Egyptian Center for the Karnak Temples

Gradually, Jean-Claude Golvin meets the right people at the right time, and in 1979, he is appointed director of the Franco-Egyptian Center for the Karnak Temples. He discovers a new world: Egyptology. Succeeding Jean Lauffray, the center's first director, Jean-Claude can rely on many colleagues, including Jean-Claude Goyon, co-director. Together, they promote the introduction of computing and the creation of the first 3D images of Egyptian temples.The laboratory's work on reconstructing the phases of development of the Great Temple of Amun-Ra marks a turning point. The monuments, whose elements had been scattered, begin to take shape again. The EDF company fully supports the research and backs a second project: the assembly of the decorated faces of thousands of blocks from the Temple of Aten, built under Amenhotep IV (Akhenaten).Jean-Claude’s time at the Franco-Egyptian Center for the Karnak Temples reinforces his direction going forward. Overcoming resistance requires patience and diplomacy, but Jean-Claude succeeds thanks to the scientific credibility his work has gained.

From shadow to light

Jean-Claude Golvin's return to France in 1990 marks a major turning point in his career. A first series of books, created with Sydney Aufrère, is published by Errance Editions, titled "Egypt Restored." The drawings quickly gain popularity, and Jean-Claude is sought after by widely circulated magazines, other publishers (including Actes Sud), and museums for his work. This enthusiasm allows him to reconnect with his first passion, the Greco-Roman world.However, this recognition does not make him forget his duties as a CNRS member. Jean-Claude continues to contribute to research by working in the field (notably in Tunisia) and publishing the results of his research. But now, he introduces architectural restitutions into his work, which becomes his main research focus.His involvement in scientific research has notably helped him avoid the trap of hubris (a term used by the ancient Greeks to describe excessive ambition). Restitution can only be interesting if it is credible and validated by scientists. Working in concert with researchers, he defines the notion of a theoretical model—a comprehensive representation of the studied site that takes into account what is known and the most likely hypotheses needed to complete the picture.

Influences and Inspirations

Jean-Claude Golvin's influences are numerous. Among architects, Andrea Palladio, the renowned 16th-century Italian architect, is regarded by Jean-Claude as the father of architectural restitution. Palladio's work, inspired by Roman architecture, found its strength and originality in villas, churches, and basilicas. He was also a great architectural theorist. As for painters, Golvin admires Titian, the 16th-century Italian painter, for his power, beauty, and mythological and philosophical references, as seen in one of his favorite works, Sacred and Profane Love. Music is a constant companion for this artist-researcher, particularly the works of Johann Sebastian Bach.Some monuments are also objects of admiration for him: the Pantheon in Rome, and the Basilica of San Vitale in Ravenna, with its forms and mosaics. The work of members of Bonaparte’s Egypt expedition, published in the volumes of the famous Description of Egypt, represents a major contribution to architectural restitution. The most admirable scholar, in Golvin's view, is Jean-François Champollion, a genius and tireless worker, regarded as the father of scientific Egyptology.

What comes next?

The interest generated by restitution is bound to age, especially in light of the constant progress in archaeological research. However, this interest will remain relevant for those who study the history of representation. It will likely be the artistic aspect of the works that endures, provided the restitutions are of high quality. The fact that most of the works have been placed in a museum (see the section "The Collection" for more information) allows them to live on in another way, as works of art.Jean-Claude hopes that his work will continue to spark curiosity in a wide audience, perhaps even a sense of wonder. Archaeologists and historians are increasingly interested in restitutions. Hand-drawn restitutions are a form of expression that doesn't exclude the use of 3D modeling and new technologies. It's essential to innovate in exciting ways within this field, using a variety of formats.