« The style of Pierre Palué's paintings is quite easy to distinguish. They are characterised by a paring down of motifs seeking to abstract the visual reality from its contingent parts to retain practically only the elemental forms »
« For many years Pierre invited me to stay with him in the candour of his home and studio ; it was like a ritual, almost a pilgrimage for thirty years up to the time just before his death and quite marvellous for me. However, it would be very wrong of me to speak of the death of Pierre Palué as he is so much alive and present in his work »
« At his best - in his landscapes and seascapes of the Arcachon region - Palué bathes his canvasses in a softly glowing light, whether golden or silvery, that endows his monumental forms with timeless nobility. Full of joy, his paintings testify to the artist's joy of living and to the beauty of the surrounding landscapes »
« At the end of the Second World War Paris again became the international, artistic scene favoured by artists from the whole world. This mixing up was comparable to the phenomen on preceding the 1914 war which the art critic André Warnod called the Paris School. In the 1950s, drawing from the fertile cosmopolitanism which energised the capital, the same inspirational creativity gave birth, in figures and abstarcts, to a second or New Paris School »
A plain wooden chair by a half-open door. This is the photographer's eye and the painter's talent that were my father. The mystery, the simplicity, the beauty of a subject.
Black, maroon, white, a touch of beige, muffled shades of reddish-brown ; his art and gift was to invest his painting with what he wanted to have understood.
This feature, this upright chair, unoccupied and unwanted, like a solitary character in a play, invites reflection and scope for dreams and thought. This picture is also the image of my father's way of life : humility, searching, understanding, opennes, receptiveness, expectation, work and calm.
In his time our guests, painters, critics and writers, Barotte, Bierge, Buffet, Clavel, Cottavoz, Couty, Harambourg, Lutz, Magnan, Mischkind, Roche, Sauvage, Savin, Truphémus, Vinay, hastened to our home. He was always exchanging ideas with them, listening, looking to help others or to improve his own art in search of the perfect, final touch.
46 x 61, 1974
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