Cookies settings


Functional Cookies

This site uses cookies to ensure its proper functioning and cannot be disabled from our systems. We do not use them for advertising purposes. If these cookies are blocked, some parts of the site will not work.

Measure of audience

This website uses cookies such as Google Analytics and Google Ads to measure and improve our website.

Interactive Content

This site uses third-party components, such as ReCAPTCHA, Google Maps, MailChimp or Calameo, which may place cookies on your machine. If you choose to block a component, the content will not be displayed.

Social Networks / Videos

Social network and video plug-ins, which use cookies, are present on this website. They allow us to improve the user-friendliness and promotion of the site through various social interactions.

Other cookies

This website uses a number of cookies to manage, for example, user sessions.

8. A lyricism loaded with the voices of the Earth (1968-1973)

Faithful to inspiration nourished by natural elements, which says essential things about humanity, the painter deepens and clarifies this nature, more apt than ever to exploit nuance and mystery. His works appear repeatedly as torn sails which reveal something of the tumult of the world (The death of the Warrior - La mort du guerrier, Uncontrollable laughter of a man of the XXest century - Le fou rire de l'homme duXXe siècle), yet they have a personal intimacy with the natural universe, and therefore are rich in metaphors.

One does not improvise an abstract painting. It is transportation, the result of a work, of an observation always watchful.

During a stay in Brittany, walking on the beach of Dinard, the painter observed the seaweeds which, he said, "were in a wide variety of shapes, some sharp, others twisted" , adding: "I saw there the image of our times with all these noises of war, these disagreements, these misunderstandings". A number of paintings of that period have their origin in the discoveries made by the artist during his trips: Spain and Portugal in 1968, which inspired mainly the scenes of Nazaré and this surprising Tribute to  Gaudi (Hommage Gaudi), Tunisia in 1969, which is the inspiration for figurative or more abstract gouaches inspired by Hammamet and Nabeul (Music in Hammamet - Musique à Hammamet), the Amalfi coast in 1970 (Night in  Sorrento, Nuit à Sorrente), Greece and the Aegean Islands in 1971 that elicit a few aerial paintings in the most elegant decorative graphics (Greek Writings - Ecriture hellénique, Apamea's Dream - Le Songe d'Apamée), in 1972 Haute-Savoie and the Lake of Annesy where the meandering water courses inspire the inventive variations of the Thiou, in 1973 the Breton coast.