Detailed card of bibliography Girieud

Plan Pierre Paul -	"Pierre Girieud "
Le Feu--- -Aix en Provence	february 1 1909	p.123-127

Contained about Girieud
It is only a few years since this name, that of a very young artist, was pronounced before the public. Immediately, he was restrained. It was in 1904, at the Salon des Independants. The artist exhibited a Temptation of St Anthony who solicited the attention by the harmony and splendor of its colors. The composition provoked the discussion. It was like a rich oriental carpet, with reds, yellows, and blues, a joyous fanfare of brilliant tones, with a country of the Thousand and One Nights in the foreground, a whole audience of strange characters, among whom kings, popes, bishops, mitred, crowned bringing presents and fruits, and arrested before the naked Saint, who rejected the temptation of the Flesh. The Temptation was represented by a no less strange Queen of Sheba who, in spite of her purple and gold, in spite of all the pomp of her suite of dancers, in spite of her throne, seemed more to belong to what in her savory language Sir Arthur Dupin calls the "half-world of gallantry," that at the great number of courts from which one would more readily see such a great Princess. And that, especially, intrigued. An indiscreet questioned: - Why does the Queen of Sheba have the ignoble face and the nipples of a gauze? "It is," replied Girieud, "that Flaubert expressly says it:" I will be for you the daughter of crossroads. " So it was in front of the work of Paul Gauguin that Girieud felt the divine frenzy, had the explanation and the total vision of what, until then, was being prepared in him. She appeared to him, this work, all at once, and almost as a whole. And he saw her in the company of our Francisco Durio, the pious disciple of the painter of Tahiti. It was for him the light, quite simply. These harmonies of brilliant tones, this search for concordance of lines of which he had hitherto only a vague feeling and which made his desires shudder, he now knew the meaning and the reason, he saw the goal. He was in possession of himself. The enthusiasm and the beautiful fever of Revelation immediately dictated to him his Tribute to Gauguin, a devout ex-voto, who, Starting in the morning for Glory and his tasks, he joined the altar of this master.

Contained about Girieud

It is only a few years since this name, that of a very young artist, was pronounced before the public. Immediately, he was restrained. It was in 1904, at the Salon des Independants. The artist exhibited a Temptation of St Anthony who solicited the attention by the harmony and splendor of its colors. The composition provoked the discussion. It was like a rich oriental carpet, with reds, yellows, and blues, a joyous fanfare of brilliant tones, with a country of the Thousand and One Nights in the foreground, a whole audience of strange characters, among whom kings, popes, bishops, mitred, crowned bringing presents and fruits, and arrested before the naked Saint, who rejected the temptation of the Flesh. The Temptation was represented by a no less strange Queen of Sheba who, in spite of her purple and gold, in spite of all the pomp of her suite of dancers, in spite of her throne, seemed more to belong to what in her savory language Sir Arthur Dupin calls the "half-world of gallantry," that at the great number of courts from which one would more readily see such a great Princess. And that, especially, intrigued. An indiscreet questioned: - Why does the Queen of Sheba have the ignoble face and the nipples of a gauze? "It is," replied Girieud, "that Flaubert expressly says it:" I will be for you the daughter of crossroads. " So it was in front of the work of Paul Gauguin that Girieud felt the divine frenzy, had the explanation and the total vision of what, until then, was being prepared in him. She appeared to him, this work, all at once, and almost as a whole. And he saw her in the company of our Francisco Durio, the pious disciple of the painter of Tahiti. It was for him the light, quite simply. These harmonies of brilliant tones, this search for concordance of lines of which he had hitherto only a vague feeling and which made his desires shudder, he now knew the meaning and the reason, he saw the goal. He was in possession of himself. The enthusiasm and the beautiful fever of Revelation immediately dictated to him his Tribute to Gauguin, a devout ex-voto, who, Starting in the morning for Glory and his tasks, he joined the altar of this master.

Detailed card of bibliography speaking of Girieud

cited painting of Pierre Girieud