| Mr. Girieud would like to ignore everything that has been done since Giotto (extreme date). He is interested only in the pure order and dream of hieraticism. The painter who is in him - the author of these bouquets (a pleasant sin) - is annihilated before the Bysantine. And here is his Emotion in front of nature. I admit that an emotion can be translated by a rhythm of forms and it is not its title that I dispute. Nor do I dispute his partiality to have taken all the interest of his figures on the reports of their position and their attitudes. But what I do not admit is the inconsistency he commits by modeling this summary concession. Modeling had to be simplified in such a way that the primordial forms of the human organism contributed to the expression of this rhythm. These breasts, these bellies drawn by soft shadows are explained neither by the natural order nor by the intention of the artist. It would require a categorical affirmation of simplified forms. Such a bold transposition - and nothing prevents it from being legitimate - must appear necessary. If we are worried and doubtful, the whole effect of the work is missed. |