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| For J.D., the
gesture was not only relevant to the hand. Acording to the effect
he wanted to give to a line or a form and what is more, depending
on the degree of expressivity he wanted to achieve, the line was drawn
with his blocked fingers, wrist, arm or shoulder. When he wanted
to express more plenitude, abandoning himself to the outline, all
his body had an active part.
A series of photographs, taken in 1960 at Gordes by Izis show J.D. at work. First, he walks around the canvas, put down on the bare ground of the studio. Then, he uses a rag, brushes and knives to add colours and finishes the painting on the easel. If for Braque, the picture had to obliterate the idea, for J.D., " the painting was done on the canvas ". During his work, hic et nunc, the painter combined emotion, reasoning with body control. Towards the end of the 50s, a graphic element showing the still noticeable part of the gesture was added to the compositions like a baroque sign. It did not necessarily correspond to the " forms ", sometimes even contradicting them. But more often, the linear aspect of the intersecting broken lines forming like a network was somewhat softened by the representation of grounds thereby sketched by their proper outline. Neither line, nor surface, but The stamp of the gesture led to the border between form and colour, an ambivalence giving an astonishing lightness to the figure. |
Jean DEYROLLE en 1960 dans son atelier de Gordes (photo Izis) |
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