Pierre Girieud followed some of Gauguin's precepts and applied them
to the fullest extent. He studied the synthesis of colours by painting similar
subjects in different tones.
The result of those experiments is a running riot of colours.
La Tentation de Saint Antoine (Saint Antony's Temptation) a large painting measuring 2 metres by 3 metres, was considered in
Monde Illustré April 1,1905 :
the strangest conflict of howling reds, vociferous yellows, and barkin blues
.
Finally, five Girieud's works were exhibited in room number VII together
with works by artists recognised as Fauvists, at the Salon d'Automne in 1905.
Art critics were then challenged his presence in this room but it is evidenced
by an article of Vauxcelles entitled the Salon d'Automne written in October 17th 1905
in Gil Blas in which he writed :
Room Number VII. Misters Henri Matisse, Marquet, Manguin, Camoin, Girieud, Derain,
Ramon Pichot. cleared room, of the daring , of the outrages, from whom it must decipher the
intentions, leaving it to the clever and stupid men the right to laugh, too easy
criticism. [.....] in the center of the room, a child's torso and a small marble bust,
Albert Marque, who models with a delicate science. The candor of these busts,
surprises in the middle of the orgy of pure tones: Donatello among the wild beasts
.
(article cited by Rémi Labrusse and Jacqueline Munck in the chronology of their work :
Matisse Derain la vérité du Fauvisme (Matisse Derain The verity about the Fauvism).
