The Three Graces of Pierre Girieud, with a splendor of souls, stand piously with their hands on the pagan shoulders of each other, on the edge of a united sea. Their meditation soothes them because, to better illuminate them, the whole life of the mystery fleet floats around their magnificent and heavy forehead.
It is because the work of Pierre Girieud bears the imprint of past centuries that it must be said modern. What could a modern sensibility be, if it did not differ from ancestors in that it first knows history, and has mingled with all its shivers? (..) The nobility of the composition, the muted orchestration of the colors, this high style of which impregnates all that paints Pierre Girieud sufficiently explains the unanimous success, that one must note less with the praise of the work than that of the public. The amused and light curiosity of which one grazes the picture of a Salon is indeed no longer appropriate here. The Three Graces give the sensation of continuity in art. They are quivering with contemporary anxiety, and the Greeks would recognize a spirit sensitive to the most subtle measures of perfection that was dear to them (....)