BEAUDIN André
French painter born at Mennecy, Seine-et-Oise, in 1895.
He follows his proceedings with an untiring will, transforming everything by light. There are no spots, few arabesques and modulations but a light scumble where sometimes the colors are smeared on in large flat areas but without insistence: each of his works is a rustle, like that of leaves.
From 1911 to 1915 Beaudin worked at the École des Arts Décoratifs. In 1921 he paid a visit to Italy. The most important factor in his formation was his meeting with Juan Gris, whose teachings he admired and understood undoubtedly better than anyone else. Like him, he considers that Cubism remains an excellent method of knowing and defining form, and organizing colour. Developing this idea to its logical conclusion, Juan Gris succeeded in humanizing to the utmost an art based on a rigid preliminary order. His followers, in their turn, resolved the problem of the apparent contradiction between construction and expression. Few solutions have the balance, elegance and solidity of that brought by Beaudin. His compositions, which were at first tormented and far too crowded with meaning, gradually grew quieter and more restrained. The canvas became the meeting-ground of opposing forces which harmonized and united. Beaudin is a painter of pure light as it appears emerging from the night. His art, in its clear limpidity, never escapes from honest reasoning. It is full of subtle poetry. Whether he takes as his model horses fighting, or a horse race, or the varied faces of Paris -- its monuments, bridges and quays -- or the flight of a bird before an open window, he liberates the universal quality, and at the same time adorns this image with the most subtle nuances of the passing moment. In a few simple lines, harmonizing with cold, vivid colours, he depicts the birth of day, or its various hours. Beaudin has illustrated the books of such poet friends of his as Paul Eluard and Francis Ponge. He has also done some important sculptural work, which, with its superimposed planes, is like a concrete representation of his painting. The dignity of this painter, his reserve, his classicism, have kept him clear of fashions and infatuations. His work has, consequently, all the more unity and lasting value. It seeks not to strike or astonish, but to convince, to satisfy the mind and the heart.
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