Detailed card of bibliography Girieud

Anonyme -	"Histoire de l'art contemporain - Girieud - monograph (History of Contemporary Art - Girieud)"
L'Amour de l'Art--- -Paris	july 1933	p.171

Contained about Girieud
Born in Paris on June 17, 1876, G. spent his childhood in Marseille. He was destined by his parents for a military career and prepared Saint-Cyr; he made his debut in Marseilles and came to Paris after his military service in 1900. Living in Montmartre, he met Picasso in 1901, whom he met at the café Azon. He exhibited for the first time at the College of Modern Aesthetics in 1901, at the Independants in 1902 and at the Salon d'Automne in 1904 (Arum red background, Arum yellow background). At the opening of the Indépendants he got to know Dufrénoy and the Fauves from the G. Moreau workshop who took him to Berthe Weill. From the start, he was drawn into the classic renaissance movement from Gauguin and painted paintings strongly inspired by him (La Tentation de Saint-Antoine, S. des Indépendants de 1905. In 1906 about the Gauguin retrospective which takes place at the Salon d'Automne in 1906 he exhibits at this salon a Homage to Gauguin, where we see placed around Gauguin as in a Last Supper of the Middle Ages, Roderic O'Conor, Raoul de Mathan, M. Denis, Sérisier, Francisque Durrio, Charles Morice, Daniel de Montfreid, Dufrénoy and Girieud himself. At that time he painted in summer in Cassis where he had worked since 1892 and where he met Matisse, Derain, Braque, Friesz. G. made his first trip to Italy, in the company of Dufrénoy, he returned there in 1906, then in 1907 where he spent a year in Siena. These trips had the effect of freeing him from the tyrannical influence of Gauguin and to substitute for it the inspiration of primitive italy ns. In 1911, he met Alfred Lombard. It was with him and Dufrénoy that he executed in 1912 the fresco decorations of the Saint-Pancrace chapel in Pradines, in Provence. Attracted by his native Provence where he continued to reside in summer, he spent two years in Marseille in 1912 and 1913. (Les Trois Grâces, in 1912). With Lombard, who also resides in Marseille, he organizes the Salon de Mai in this city. Nursing corporal during the war, he decorated large compositions, an Adrian barrack (Music, Dance). In 1925 he painted two boxes (Les arts de la Pierre, Les Arts de la Vie) for the Cour des Métiers at the Exposition des Arts Décoratifs which were not executed. In 1931 G. made large oil decorations for the Council Chamber of the University of Poitiers. The same year saw him in Greece from July to November where he made a large number of landscapes. In 1932 he decorated frescoes the Jas de Puyvert in Provence. G. also made the sets and models for Gluck's Orphée, at the Opéra-Comique in 1929. G. has exhibited at the Indépendants since 1902 and at the Salon d'Automne since 1904. Exhibitions: Kahnweiler, 1908; Munich, Tannhauser, May 1911; Munich, Hans Golz, Sept. 1913; Paul Rosenberg, May 1914, May-June 1920; Druet, April 1926, January 1929, May 1932 (landscapes of Greece); B. Weill, Jan-Feb 1925; Musée de l'Orangerie, May 1931 (Decorations from the University of Poitiers). Museums: Luxembourg, Le Havre, Grenoble, Strasbourg, Digne, Bagnols-sur-Cèze, Elberfeld, Moscow, etc. Bibliography. - Written: Gauguin, Alta. Druet, Lib. of France; Response to an inquiry into the profession of painting in the Gil Blas, August 30, 1912; Response to a survey on the subject of art in B.V.A., 1924, p.410-412. Illustrated: Contes du Temps Jamais by Maxime Girieud, La Sirène, 1920; The Temptation of Saint Anthony of Flaubert, Lib. from France, 1921; Domnine by Paul Arène, ed. Marcel Seheur, 1927; Sainte Douceline by Gabriel Mourey, ed. of the New World. R. Rey, P. G., Alta. Druet, Lib. of France; Ch. Malpel, Notes on contemporary art, 1910, I, p.75-89; II, p.252 and 260; A. Salmon, The Young French Painting; G. Coquiot, Les Indépendants, p.124; G. Mourey, La Vérité sur la Cour des Métiers, Lib. of France, 1925. Journals. - Kunstchronik, neue folge, 1902, p.294; 1904, p.279; 1907, p.332; 1914, p.163; Ch. Morice, Merc. de F., Nov. 1909, p.149; id., ibid., nov. 1910, p.159; Henri Bidou, G. B. A., 1910, II, p.368; ibid., 1913, II, p.364; J. Gasquet, les Fresques de Pradines, A. D., 1913, p.259-266; La Publicidad (Madrid) (Pradines frescoes), 11 Dec 1913; G. Boissy, Letters on a school (the decoration of Pradines), Montjoie, Nov.-Dec. 1913, p. 14-15; Maxime Girieud (brother of the painter), Le Canet des Artistes, Nov. 1917, p.8-12; J. Gasquet, L'Eclair, June 8, 1920; A. Erlande, Am.A., 1922, p.139-141; The decorations of P.G., at the University of Poitiers, ibid., 1931, p.341-343; M. Roche, Rythme et Synthèse, May-June 1923, p.156-161; G. Mourey, P. G. paysagiste, A. et A., n. s., X, 1925, p.153-157; id., Le Flambeau (Bruxelles), March 31, 1925, p.367-372; id., Studio, 1926, I, p.128-129; The Carnet of the Week, 23 Dec 1928; René Jean, Comoedia, Jan 9, 1929; P. Santenac, Sud Magasine (Marseille), 1 ° Jan. 1932, p.16-19; Noël Vesper, Jas de Puyvert and the frescoes by P. G., ibid., 16 Jan 1933, p.16-19; Ren., June 1932.

Contained about Girieud

Born in Paris on June 17, 1876, G. spent his childhood in Marseille. He was destined by his parents for a military career and prepared Saint-Cyr; he made his debut in Marseilles and came to Paris after his military service in 1900. Living in Montmartre, he met Picasso in 1901, whom he met at the café Azon. He exhibited for the first time at the College of Modern Aesthetics in 1901, at the Independants in 1902 and at the Salon d'Automne in 1904 (Arum red background, Arum yellow background). At the opening of the Indépendants he got to know Dufrénoy and the Fauves from the G. Moreau workshop who took him to Berthe Weill. From the start, he was drawn into the classic renaissance movement from Gauguin and painted paintings strongly inspired by him (La Tentation de Saint-Antoine, S. des Indépendants de 1905. In 1906 about the Gauguin retrospective which takes place at the Salon d'Automne in 1906 he exhibits at this salon a Homage to Gauguin, where we see placed around Gauguin as in a Last Supper of the Middle Ages, Roderic O'Conor, Raoul de Mathan, M. Denis, Sérisier, Francisque Durrio, Charles Morice, Daniel de Montfreid, Dufrénoy and Girieud himself. At that time he painted in summer in Cassis where he had worked since 1892 and where he met Matisse, Derain, Braque, Friesz. G. made his first trip to Italy, in the company of Dufrénoy, he returned there in 1906, then in 1907 where he spent a year in Siena. These trips had the effect of freeing him from the tyrannical influence of Gauguin and to substitute for it the inspiration of primitive italy ns. In 1911, he met Alfred Lombard. It was with him and Dufrénoy that he executed in 1912 the fresco decorations of the Saint-Pancrace chapel in Pradines, in Provence. Attracted by his native Provence where he continued to reside in summer, he spent two years in Marseille in 1912 and 1913. (Les Trois Grâces, in 1912). With Lombard, who also resides in Marseille, he organizes the Salon de Mai in this city. Nursing corporal during the war, he decorated large compositions, an Adrian barrack (Music, Dance). In 1925 he painted two boxes (Les arts de la Pierre, Les Arts de la Vie) for the Cour des Métiers at the Exposition des Arts Décoratifs which were not executed. In 1931 G. made large oil decorations for the Council Chamber of the University of Poitiers. The same year saw him in Greece from July to November where he made a large number of landscapes. In 1932 he decorated frescoes the Jas de Puyvert in Provence. G. also made the sets and models for Gluck's Orphée, at the Opéra-Comique in 1929. G. has exhibited at the Indépendants since 1902 and at the Salon d'Automne since 1904. Exhibitions: Kahnweiler, 1908; Munich, Tannhauser, May 1911; Munich, Hans Golz, Sept. 1913; Paul Rosenberg, May 1914, May-June 1920; Druet, April 1926, January 1929, May 1932 (landscapes of Greece); B. Weill, Jan-Feb 1925; Musée de l'Orangerie, May 1931 (Decorations from the University of Poitiers). Museums: Luxembourg, Le Havre, Grenoble, Strasbourg, Digne, Bagnols-sur-Cèze, Elberfeld, Moscow, etc. Bibliography. - Written: Gauguin, Alta. Druet, Lib. of France; Response to an inquiry into the profession of painting in the Gil Blas, August 30, 1912; Response to a survey on the subject of art in B.V.A., 1924, p.410-412. Illustrated: Contes du Temps Jamais by Maxime Girieud, La Sirène, 1920; The Temptation of Saint Anthony of Flaubert, Lib. from France, 1921; Domnine by Paul Arène, ed. Marcel Seheur, 1927; Sainte Douceline by Gabriel Mourey, ed. of the New World. R. Rey, P. G., Alta. Druet, Lib. of France; Ch. Malpel, Notes on contemporary art, 1910, I, p.75-89; II, p.252 and 260; A. Salmon, The Young French Painting; G. Coquiot, Les Indépendants, p.124; G. Mourey, La Vérité sur la Cour des Métiers, Lib. of France, 1925. Journals. - Kunstchronik, neue folge, 1902, p.294; 1904, p.279; 1907, p.332; 1914, p.163; Ch. Morice, Merc. de F., Nov. 1909, p.149; id., ibid., nov. 1910, p.159; Henri Bidou, G. B. A., 1910, II, p.368; ibid., 1913, II, p.364; J. Gasquet, les Fresques de Pradines, A. D., 1913, p.259-266; La Publicidad (Madrid) (Pradines frescoes), 11 Dec 1913; G. Boissy, Letters on a school (the decoration of Pradines), Montjoie, Nov.-Dec. 1913, p. 14-15; Maxime Girieud (brother of the painter), Le Canet des Artistes, Nov. 1917, p.8-12; J. Gasquet, L'Eclair, June 8, 1920; A. Erlande, Am.A., 1922, p.139-141; The decorations of P.G., at the University of Poitiers, ibid., 1931, p.341-343; M. Roche, Rythme et Synthèse, May-June 1923, p.156-161; G. Mourey, P. G. paysagiste, A. et A., n. s., X, 1925, p.153-157; id., Le Flambeau (Bruxelles), March 31, 1925, p.367-372; id., Studio, 1926, I, p.128-129; The Carnet of the Week, 23 Dec 1928; René Jean, Comoedia, Jan 9, 1929; P. Santenac, Sud Magasine (Marseille), 1 ° Jan. 1932, p.16-19; Noël Vesper, Jas de Puyvert and the frescoes by P. G., ibid., 16 Jan 1933, p.16-19; Ren., June 1932.

Detailed card of bibliography speaking of Girieud

cited painting of Pierre Girieud