اشعاع التكعيبية ٤_a .. كتاب الفن في القرن العشرين

As for the reactionary D. Diran, on the contrary, he wanted to apostatize, and after 1918 he deliberately cut off between himself and his youth, and began vehemently opposing the renewed art that prevailed in his time. And he does not see an outlet for salvation from it except in an explicit return to the art of museums, and therefore he began to follow the example of the artists of the city of Bologna: Bostan and Coro, and the still-life painters who were born in the Netherlands in the seventeenth century, and he even returned to the artists of Rome and Pompeii.

In short, we say that he reverted to the realistic tradition, accepting all the rules that distinguish it, such as perspective and stereotypes, and respect for anatomy. However, he is not satisfied, of course, with transferring his models. If he depicts a face, a naked body, a silent nature, or a natural scene, he works in his own way. Sometimes, he shows contempt and a bit of a breach. As if to appear to people who allow themselves some freedom from school rules. He also knows how to find unusual colors in a color-deaf group. He has an eye for insight and he has taste and culture. He may have more of these qualities than he should, while he does not have enough passion and creative instinct. In sum, whatever the concern that some people think should be shown towards his path during the thirties, the traditional part of his works is not equivalent to what he created during the days of the “Brutal” doctrine, nor what he executed between 1908 and 1914. It is true that this traditional section testifies to him with a lot of skill. However, he also testifies to his lack of confidence in the possibilities of contemporary painting, as well as to his voluntarism, which has never led in art except to paintings devoid of those he wants.

A position totally opposed to the renewal trends, as he stands a completely opposite position to the renewal tendencies, never thinking of going back to the old senior painters. Most of what he does is look towards Courbet: that is, his vision is realistic. However, his brevity in drawing and his slowness in making go back to the twentieth century, and its early days appeared before 1914, and since then it has taken a certain direction for itself. And the human beings that he draws between the two world wars, which mostly represent some seamen in their boats, or naked people on the seashore. . These human beings are characterized by strong bodies and long organs, and their meat is hardly distinguished from the soil or from the trunks of trees. In short, everything he paints seems to have been kneaded from the same somewhat dry and granulated clay: faces, hands, bodies, fabrics, earth and leaves, even river water. And he finds pleasure in highlighting the physical aspect of his photography. And if he was keen to have a strong and solid structure for his paintings, he would do so with some roughness, in the manner of peasants who join some elements together after trimming them with scissors. And its climate is harsh and under a gray sky, the atmosphere of its natural scenes appears as gloomy as a day in autumn or late winter. Even in the south of France Segonzac finds nothing of a name. Moreover, his paintings are not the successful ones in which he uses warm colors, as he depicts earthy colors, yellow colors, grays and greens. . . And if he forgets that once lost.

A strange thing is that this artist who weighs his paintings with all this weight, and who draws them with lumbering lines, we see him when he executes a watercolor Or he paints with a brush or engraves some inscriptions, for these works of his reveal a delicacy that makes us guess that we are facing another artist, despite the same topics and although he uses the same colors in watercolor painting, but the colors here become more fluid, transparent and very light, and the whole drawing becomes soft, fast and decisive . .

The lesson in the art of the likes of Segonzac and Deran, and the admiration they attain among amateurs and critics, has affected some young men emerging and prompted them to foresight and moderation, so they began to confirm their position by attacking and denouncing Cubism. Chapelin Midy says that Cubism in its inevitable abstraction attempts has forgotten what the purpose is. The true nature of art, and what is its human meaning, and he said steadily: «It is the duty of those who come after Cubism to give art what it still needs
Old Oudot to him of spiritual truths). And it is, of course, a beautiful program, but it must be recognized that the works of art that achieved this program were not at the level of ambition indicated by the words of Chaplin Midi, even when these paintings bore the signature of artists such as Chaplin himself or “Odo” or (Caillard, or: Briar Brayer) If the goal is to rectify the lack of inner originality that contemporary art suffers from, as they say, then it is not enough to cover the face of (realism) with a new mask, and shyness must be overcome in order to achieve the desired originality.

Likewise, the artist must be brave in order to perpetuate the passage of enough time to verify that the artists who people thought would eliminate modern art were not able to stop the development for one moment. They could not change the direction of this development, while a group of emerging young men were working alongside them. People did not care about these young men at that time, while their works and attempts were destined to have a greater extent in the history of art. And as soon as the flames of war broke out, they imposed themselves not declaring their affiliation to Segonzac or Deran, but to Bonnar, and they, Matisse, Picasso, Leger, Klee, and Kandinsky...