Once the purist period
finished, J.D. felt much more free because he has discarded
what could be called his " figurative automatisms " (see § Golden
Section). Therefore, he could imagine that " a systematic
non-figurative work was not the main thing and that any good painting
embraced emotion in an uncontrolled way at the beginning. (excerpt
from Conversation between J.D. and Jean Grenier, 1960).
In the late fifties, J.D. decided to live
and to work in the Vaucluse area where he often experienced a kind
of pantheistic emotion when facing " the sight of nature ". Gradually,
he found new ways to render some landscapes in an abstract manner.
He pointed out:
| " true art was made by man, but not by reproducing
nature. Nature is informal. If we marvel at the
forest, it is because it was shaped by man. Moreover,
the mountain owes its imposing character to the fact that its
slopes were indented by a road. " (Ibidem). |
Before starting to work or while painting, J.D.
never sought to analyze the feeling originating a painting.
| " It would rather make me feel uncomfortable.
I might try to conforrn to it or add the figurative reference
which did not exist at the beginning. " (Ibidem) |
In any case, the " sight " triggering off the painter's
emotions should not be important to the spectator since the real stake
of the picture is to convey emotions by exclusively plastic means;
(see Repro. from " Joël ").
|
Jöel op.706 (1962)
Tempera sur toile, 97 x 130 cm
" Canvases creating space, dark openwork.
From the earth, they retained the scents, the light, the small
noises and its huge silence full of elytra and wings : ochres
from Roussillon, rocks near Gordes or M6nerbes, stones of
the " bories ", Mediterranean landschpes of a mineral or sidereal
aspect. Everything is there in Deyrolle's paintings
with very sober colours : the tawny back of the Lub6ron, the
hills by superposed plans, the quiet geometric structure of
the roofs, the overwhelming and glittering heat, the wide
pattem of the fields, the odorous bare ground, the marks of
time on stone, the mule-tracks, the clear and blue night.
"
[Deyrolle, a well-tempered painting by JeanPierre Geay].
See Biblio |
|
