Detailed card of bibliography Girieud

Wilmet L. -	"Pierre Girieud Charlet gallery "
XX Siècle Bruxelles--- -Brussells	april 9 1925

Contained about Girieud
The art of Pierre Girieud seems to us to have some relationships with that of Henri Manguin whose gallery Giroux presented us last February numerous and diverse works and whose landscapes showed similarities with those of Guillaumin. The trees of Girieud take, as with his two compatriots, aspects of balls or rocks and are painted in compact masses, with raw and acid emerald greens or dirty cinnabar greens (2,9,11,12,27,29 ). Often green or blue tones replace the local tone in the shaded nudes (18,19,20,33,34). The flesh has a bland pink color (1). Hardness is noted in most of the contours, in the horizon line (3,23), in the drawing of the nudes (3,19 and others), which are heavy and fat and powerfully modeled. The portraits are treated simply, with wide shots; only that of Georges Duhamel betrays thought. The design is very tight, sometimes dry as with Léon Frédéric (15). The granularity of the skin is well rendered by the multiplicity of small touches and the sanding of the impasto (15,19). Above this, a detail offends and attracts attention, which is solicited neither by the beauty of the lines, nor by the charm of the subject, nor by the delicacy of the interpretation. Such a leg looks bad (18), such toe detaches from the foot (3), such hand sinks into the soft leg like a paste (33). Tables are more of a study than a complete work. It’s been a long time since Mr. Ingres’s “We only finish with a finish” is out of fashion and ugliness no longer scares the art. Formerly the master taught, and he was listened to: "Art must only return beauty. If you want to see this ugly leg, I know there will be material; but I will tell you: Take my eyes and you will will find beautiful ". In the compositions (2), the groups are gracefully formed and presented in harmonious lines. They benefit from being seen in white and black (39.40), without the confusion brought by the heavy and dull background. Pierre Girieud's art does not try enough to free himself from the weight of the material. Too much materialism weighs him down and if he succeeds in shaping the volumes, he will not be able to evoke soul and manipulate the beautiful color of life in nature.

Contained about Girieud

The art of Pierre Girieud seems to us to have some relationships with that of Henri Manguin whose gallery Giroux presented us last February numerous and diverse works and whose landscapes showed similarities with those of Guillaumin. The trees of Girieud take, as with his two compatriots, aspects of balls or rocks and are painted in compact masses, with raw and acid emerald greens or dirty cinnabar greens (2,9,11,12,27,29 ). Often green or blue tones replace the local tone in the shaded nudes (18,19,20,33,34). The flesh has a bland pink color (1). Hardness is noted in most of the contours, in the horizon line (3,23), in the drawing of the nudes (3,19 and others), which are heavy and fat and powerfully modeled. The portraits are treated simply, with wide shots; only that of Georges Duhamel betrays thought. The design is very tight, sometimes dry as with Léon Frédéric (15). The granularity of the skin is well rendered by the multiplicity of small touches and the sanding of the impasto (15,19). Above this, a detail offends and attracts attention, which is solicited neither by the beauty of the lines, nor by the charm of the subject, nor by the delicacy of the interpretation. Such a leg looks bad (18), such toe detaches from the foot (3), such hand sinks into the soft leg like a paste (33). Tables are more of a study than a complete work. It’s been a long time since Mr. Ingres’s “We only finish with a finish” is out of fashion and ugliness no longer scares the art. Formerly the master taught, and he was listened to: "Art must only return beauty. If you want to see this ugly leg, I know there will be material; but I will tell you: Take my eyes and you will will find beautiful ". In the compositions (2), the groups are gracefully formed and presented in harmonious lines. They benefit from being seen in white and black (39.40), without the confusion brought by the heavy and dull background. Pierre Girieud's art does not try enough to free himself from the weight of the material. Too much materialism weighs him down and if he succeeds in shaping the volumes, he will not be able to evoke soul and manipulate the beautiful color of life in nature.

Detailed card of bibliography speaking of Girieud

cited painting of Pierre Girieud