French painting today

for p r i n t i ng direct o n t o linen. I n 1952 h e wo n t he I n t e r na t i ona l G r a n d Prix for p a i n t i ng a t t h e Biennial a t Venice. 3 ' Still life w i t h banana s (Nature morte a u x bananes) 1910-1912 0.81 x 0.65 3 2 T h e yellow sideboard ( Le Buffet j aune ) 1925 0.92 x 0.73 33 N u d e ( N u ) 1942 0.81 x 0.65 DUNOYER DE SEGONZAC Andre" Bo r n 6 t h July, 1884, a t Boressy Saint-Antoine, i n lie-dc-France, o f a nob l e family f r om Quercy a n d Franche-Comte. I t was i n t e nd e d t h a t h e should a t t e n d the military academy o f Saint-Cyr, b u t i n 1901 h e entered t he Ecole des Beaux-Arts a n d later frequented t he academies o f Montparnasse. I n 1906 h e worked o n his own, sharing a studio w i t h Boussingault a n d going t o p a i n t w i t h h i m a t Saint- Tropez. T h i s short impressionist period was followed b y a mo r e personal period w i t h t he large p a i n t i ng of t he Drinkers, full o f subject, a n d i n mu t e d tones. From 1920 to 1926 h e spent t he summers a t Chaville a n d pa i n t ed landscapes i n lie-dc- France. H e also p a i n t e d nudes i n t h e o p e n air. After 1926 h e r e t u r n e d to Saint Tropez; his palette became lighter a n d h e p a i n t e d i n watercolours. The influence o f Provence grew i n his canvases w i t h o u t ever obliterating t h a t of Ile-de-France. Amo n g t he large n umb e r o f his engraved works t h e Georgics (1937) should b e mentioned. I n 1948 h e he l d a retrospective exhibition a t t h e Charpen- tier Gallery. Du n o y e r d e Segonzac has t u r n e d t o advantage his very limitations as a colourist a n d given a n aristocratic savour t o restrained harmonies. 34 T h e Aire f a rm a t Saint-Tropez (Ferme d e M i r e a Saint-Tropez) 1928 0.35 x 0.80 Musée Na t i ona l d ' Ar t Moderne ERNS T Max Bo r n 2nd April, 1891, a t Cologne. H e studied a t t he University i n this town, t h e n became a memb e r o f t he expressionist g r o u p "De r T u r m . " H e was first of all influenced b y Picasso t h e n i n 1919 b y Ar ch i penko a n d Chirico. T h e same year h e f ound e d t h e Dadaist movement i n Cologne. Ma x Er n s t played an imp o r t a n t p a r t i n Dadaism a n d later i n Surrealism wi t h the technique of stuck-on paper. I n 1922 M a x Er n s t me t t he writers P a u l Eluard, T r i s t a n T z a r a and Andre' Breton i n Paris. H e became on e of t h e most active artists o f t h e surrealist g r o u p wi t h t he series o f college books a n d t h e Foréts (1926-1927). Since this period Ma x Ernst has evolved towards a mo r e a n d mo r e plastic conception of t h e world, using n ew forms ak i n t o t h e parts o f flowers, forests a n d birds, and ma k i n g the poetry o f liberation, which is t h e essence o f surrealism, gush forth f r om them. 35 T h e year 1955 (L'an 1955) 1925 0.60 x 0.73 ESTEVE Maurice Bo r n a t Cu l a n (Cher) i n 1904. After spending a year i n Spain i n 1925 h e worked a t t he Academic Colorossi u n t i l 1927. H e collaborated i n decorating the Railways a n d Aviation pavilions a t t he 1937 Exh i b i t i on w i t h a t e am directed by Delaunay. H e has be en exhibiting a t t he Louis Ca r r é Gallery f o r several years. [19] GEORGES R O U A U L T T h e little sorceress - P r i v a t e Collection