Pierre Girieud and Francisco Durio, in their joint exhibition, offer us to note a happy harmony of directions in two arts and two temperaments. They are both oriented to truth, to decoration. Decorative, the painting of Pierre Girieud is essentially, only and until the paradox, at a time when the decorating artists, sure of the future, have little or nothing to hope for the present (...) The one and the other, Durio and Girieud, returning to the principles go beyond the Renaissance time, seeking in space the unity of nature brought back to its primordial analogies. Girieud is more mystical, Durio closer to the elementary life. They correspond, in full consciousness, to the needs, to the logical directions of true art, striving to restore to him these three supreme virtues, of which Impressionism leaves him stripped, Composition, Expression, Style. Those who do not understand Girieud's decorative intentions will reproach him for distortions that they will not find justified. It is rather to remain sometimes too much subject to the superstitious observation of the decomposition of tones, to the concern of the complementary, that we would accuse him. See, for example, in the Daughters of Israel dancing for the Promised Land, in Ruth and Booth, in the harvests of Noah, these harmonious sequences of female bodies connected by the community with a gesture that justifies the action, and which repeats itself with variety: friezes that suggest the rich theme of a mural decoration with vast proportions. |