|The head of Pierre Girieud, when we see him in his large studio on rue Lauriston or even if we meet him in a painting salon naturally calls the monk's robe.
Under a skull discovered that hair rising slightly behind surrounds a crown, the face appears entirely hairless, with rounded shapes, lively eyes, a brownish southern complexion. One imagines the "brother" Girieud, hands in the sleeves of his frock, on a meditative walk around a rustic Provençal monastery, and in contemplation in front of a group of cypresses seeming tied together the hill with soft undulations, and the azure of sky. But we imagine just as well the painter, dressed in the Roman or Greek toga, crowned with roses, and drinking in a precious cup the wine dear to Horace, while he looks with enchantment at the naked breasts of a courtesan, as Petrone could argue with him.
Because there is in the personality and in the work of Pierre Girieud a tasty mixture of mysticism and voluptuousness, but of a voluptuousness which always includes an aesthetic pleasure. This is because from the land of Provence as well as from the soil of Italy sprang the harmonious colonnades of the temples dedicated to Apollo and Venus, as well as impulses of faith from the primitives to God.
Girieud, originally from the Basses-Alpes, lived in Marseille from childhood and, in the great Mediterranean city, the Boulevard de Longchamp.
At ten, a student at the Lycée and already feeling the demon of art shaking him, he skipped school.
"How to resolve to return to the closed rooms, when the sun makes the slabs of the Old Port burning hot, when you can, naked kid among the hulls and in emerald water, at the foot of the Tourette or the Pharo, realize unconsciously the indolent delights of a Joseph Vernet ".
It is the writer Robert Rey who thus excuses as a poet, in the preface to an album, the young schoolboy Pierre Girieud.
This perceptive woman who played the role of a kind of Providence in the destiny of more than a beginner in painting, Berthe Weill, sheltered in her gallery one of the first exhibitions of Girieud where he appeared alongside Maillol, Launay, by the ceramist Durrio.
It was highlighted shortly after to the Independents with a large and vibrant composition of colors, the Temptation of Saint-Antoine, and especially two years later, at the Salon d'Automne, with its Homage to Gauguin, an even more imposing composition and in which the master of Tahiti occupies the center of a sort of Last Supper in which are surrounded by Maori women, with bronzed venerability, and his fervent disciples. Because Pierre Girieud then shares the ideas of Paul Gauguin, while expressing his own temperament.
The homage to Gauguin, of a real lyricism, in color and inspiration, rallied to its author convinced defenders, Huc and Malpel, these last two Toulousains.
At the Salon d'Automne in 1908, 1912 and 1913, Girieud sent decorative paintings Emotion before nature, the Three Graces, the Toilet of Venus, which participate in the same way and bear the mark of its originality in the attitudes collected from characters with elongated shapes, in the width and purity of the tones distributed as for large images.
Pierre Girieud's luminous stay in Marseille soon fades into the horrors of the great war. When peace brings back the autumnal manifestations of Franz-Jourdain's society, the artist has reflected, and his Praise of Beauty, a flexible female nude that a monk looks at, looking like Girieud as a brother, considers an enigmatic eye, revives tradition, not without nobility. (....)|