 |
|||||||||
 |
|||||||||
 |
|||||||||
New ! |
|||||||||
|
|||||||||
|
|||||||
| As a result of the sort
of revelation of Chateauneuf-du-Faou when he discovered in Charles
Estienne's company Paul Sérusier's
work and writings, J.D. was so much influenced by the Nabi
theoretician that he applied his principles literally and copied him
to a great extent for more than a year. He even painted some
landscapes of the Aulne valley from the same " view point "... . But
he was also aware, thanks to the A B C of painting, That it
was only a transient phase ! Then, he should " take possession of
himself " and " invent new forms! "
|
In 1943, J.D. abandoned the formal Nabi
principles, although he approved Sérusier's spiritualist
and individualistic conception of art and never refrained from doing
it. He also claimed the three basic principles of Nabism, defined
in 1890 by Maurice Denis in a famous article " Art and Criticism ",
then summed up by himself some years later, as follows :
Precisely because the nabi movement was different from the other movements - withdrawn into themselves, confined to very definite stylistic limits, thereby restrained to a few periods and a few places - but rather an open conception of art, it gave a painter of the middle of the 20th century like J.D. the means to express according to his personality, his time and on the abstract mode the harmony of nature and his fervour to the world. |
||||||
