| Unlike most his fellow-painters
or sculptors, J.D. never really wrote on art. He did
not like even the idea because he was wary about theoretical principles.
He told Charles Estienne, who conducted
a survey on " The situation of painting in 1954 " for the magazine
Medium: " It's too long and too difficult to explain. Besides,
If I paint, it is not to have to write it down. " Yet, a certain
number of statements made at different times came to us : the statement
recorded in 1952 by Julien Alvard (see Biblio),
a stand published in 1953 by the Soleil Noir in "First appraisal of
the art of today, " Opinioni dell'artista " in the catalogue for his
exhibition in Milan in 1958, some remarks to his pupils of the Academy
of Munich recorded in particular by Gerhard Fröbel, his usual
translator (see Biblio), the conversation with Jean grenier in 1960
(see Biblio) and finally, the shorthand notes of J.D.'s lecture
in 1964, requested by Professor Meyerson (see § Work
of the painter). Let us read the following excerpts from
a few of J.D.'s statements: |
| " Before anything, I think
it better not to lock oneself up in any system. "
[1952]
" You should not be too much upset by
a theory, almost every painter lies more or less consciously
with it. It is not ironical, still less critical.
To me, the cheating is like a constant invention. It provides
for artistic progress and prevents art from becoming sclerosed,
in the end. " [1952]
" When I am working, I don't question
the problem of figuration. If I paint in a figurative
way, I am not aware of it. My pursuit is through multiple
and combined forms to get a great diversity of meanings - square,
bird, heat, friendship and so on. Moreover, colour, forms,
dynamics cannot be considered in detail unless the painting
is not finished. During the work, since the reasoning
is not continuous, everything seems intuitive. "
[1952]
" The physical aspect (of nature) also
exists in the action of painting. A curve delineated by
the wrist does not have the same strength than a curve outlined
with the arm or the whole body hurled forward. It may
well bring about, as from the touch, a pictorial sensuousness
that I don't want to reject. " [1952]
" I believe less and less in universal
rules (panacea) because at all moments, illogical achievements
are revealed. To me, self-discipline only matters, provided
it does not annihilate all fancies. I felt how my vision
had enlarged itself, that I was able to depict the world as
I see and feel it in a mode in which the spectator has the greatest
possibilities to act and create. I don't want to paint
for a future world (its future needs are not known) but to be
a living witness to my time.
[1953]
" I think it highly desirable for the
painter to analyze nature, in order to understand its law, the
reasons for balance, the eloquent nature of forms. Even
if subsequently, he must rebel, it is worth knowing what he
wishes to deny or renounce. When by accident, I face a
more expressive form, I try to affirm it or rather the feeling
expressed by it, without trying to give it a figurative conformation.
" [1960]
" Since the picture should be a basic
means from which the imagination of the spectator may develop,
I try to provide the latter with a real show always offering
new sensations.
[1960]
My own painting is not really a sensational one It is not meant
to be seen, but to be seen again, or even lived. "
[1960]
" Painting should always be an adventure.
" [1959 - 1967]. |
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