Press articles

Below are 4 excerpt a few press articles wich describe how Guy Respaud's paintings are interpreded by the media during private exhibitions. Clik on the excerpt to read the entire article

 
 

1. Arts Actualités Magazine

Guy Respaud was born on the 20th of Mai 1932. He is an ardent painter but although he attended the College of Fine Arts in Strasbourg and lectured there he is in no way obsessed by the desire for exhibiting his work. Therefore he never gives way to the different demands of fashion but creates according to his imagination, and in addition, he knows how to paint. His work, based on his talent, could be summed up as follows the possibility to scrupulously reproduce what he wants and not necessarily what we see.
Guy Respaud’s painting expresses itself in smooth lines, with fine and delicate touches, which would leave scope for trompe l’oeil, although he is not interested in such technique. However this artist needs to give rent to an overflow of imagination to see in a different manner and through is own instincts, of which we will distinguish the dominant factors.
Four criteria: elegance, personality, sensuality and perfection which are the motives which come into play in Guy Respaud’s paintings; and give his characteristic touch.
As from then, Guy Respaud will unleash his feelings. He will range, with remarkable ease from the pastiche of an ancient master to a philosophical theme to giving rent to tenderness, remembrances and deep emotion to entertain himself and seduce us. He recalls with acute sense of modesty, but with all the imperative power of evil a woman’s body. Beautiful obviously.
Through an oil painting, or in writing we will be able to attain such dialogue. Here the reader, at a glance, will see all the constituents which symbolize ideas, and such, well chosen and well represented, will induce reflection. Now this language, as it is rightly so, is communication and all the more efficient since we create our own paths of reflection.
Guy Respaud constantly uses such expression when it takes the path of communicating trough vision. The more we run the eye trough his work the more we see that he is an artist who is talkative and as much to say and an irresistible need for communication and to cry out his truths, which widely open so many doors

Christian GERMAK

2. Professor Auguste Wackenheim – Medical column

Guy Respaud was born on 20th May 1932 in Castres in the Tarn, although he considers himself more as a son of Mazamet, a neighbouring town of Castres. Only son, brought up in the foothills of the Black Mountain, Guy Respaud was automatically moved to Baden-Baden during an unavoidable transfer in the military life of his father.
From Baden-Baden, there was just a short leap to Strasbourg where he became a student at the College for Decorative Arts in 1951. On leaving, he was granted a diploma with Strasbourg highest award.
With his somewhat independent outlook, Guy Respaud scrutinizes the world, retains the essential and transposes his critics via his painting. "I paint mankind's shortcomings without a moralizing mind" and, very Flemish, "I also paint what I do not like with a lot of love". Guy Respaud is slave to his art, he makes it his religion.
"My work is a weapon against the vicissitudes of modern living". Is he not a painter of the Rhenish Renaissance when he declares "the ridicule surrounding fashions is a source of amusement to me, amusement that can turn into irritation", or still, "I have a great distrust of everything that claims to be avant-garde, as soon as one bellows to be avant-garde, one is not so any more, time modelling and remodelling one's work. Guy Respaud is passionnate about Flemish painting and is very suspicious towards ideologies of all kinds and all tendencies.
If the Flemish and the Rhenish painted biblical events and mankind's weaknesses, Guy Respaud paints animals that represent his religion too, and the great sins of present society. He transposes through colourful works the sins of Biafra, the sin of pollution, the sins of politicking, etc.
What interests him above all is mankind with its mysteries, its ideologies, its liberties and its constraints. He endeavours to depict the human condition through works that are precise, mathematical and translucent. The theme of humankind comes back endlessly through an elaborate technique, without fiddling, without wallpapering, etc. All that is accompanied by an enormous (almost childish) love of the truth, justice and honesty. He paints humankind indeed, but also nature to which he belongs, ecology that thrills him, architecture, litterature and popular art.
The painting shown here is typical of Guy Respaud. Nicolas de Leyde, the sculptor of the 15th century cathedral in Strasbourg, is represented with a grenade in his hand. Will he throw the grenade to destroy the modern buildings that overpower him? He will not be able to throw it as the cathedral would blow up at the same time. This is the tragedy.
Guy Respaud is not Alsatian (Nicolas de Leyde was not Alsatian either), but he became Rhenish "So often, travelling through the Vosges, I have the distinct impression to be on the slopes of the Black Mountain or on the Martys road".
"The Occitan man is as proud of his country as the Alsatian. But friendship in Alsace is not an empty word".
Guy Respaud knows that better than any of us. He loves Rhenish paintings and it shows.

Professor Auguste Wackenheim

3. Text from Guy Sportellini - Painter

I made the mistake, one day, to tell Guy Respaud that I would like to write about his works. And he took me at my word. If I feel very touched by this mark of trust and esteem, I am now quite worried.
What am I going to say about Guy? His painting is so rich in themes, his technique so perfect - and could I say so old-fashioned at a time where it seems of good taste to show one's ignorance of the craft, that I find myself at a dead end.
Should I talk about his exacerbated sensitivity which makes him a rebel in the face of the world's inhumanity of which the main characteristics are selfishness, greed and cruelty? Or should I evoke his passion for the industrial and mechanical discoveries which somewhat redeem mankind, or his pleasure in front of birds, small flowers, innocent nature?
Should I instead insist on the materials used for his creations and disclose the painter's secrets?
The world of Guy Respaud is too rich, too deep, too intelligent to be reduced to a few lines. Therefore, I will not say anything that is clear, objective, methodical. I will not act as a critic, but I will talk like a friend, simply, or rather like an admirer, the admirer I was well before I met him.
Thank you Guy for being who you are; I do not have to tell you to carry on in the same manner as you cannot help it anyway. And in front of your canvasses, teeth will continue to grind under the effect of your healthy and vital provocation and eyes dilate captivated by your skills.
Thank you again Guy: "At a time when phoneys are the norm, glory be to the one who tells the whole truth". And your painting is your truth. I would like this to be the case for all of us.

Guy SPORTELLINI

4. Text from Olivier COMTE (Paris 1987)

...And men darkened the rivers
charging the earth with particles of misery
diverting the winds of behinds to fertilize
and sank in the fire in the center graves
and the child was there standing in the mud,
with feet in the mess and raw throat like a see of sorrow
screved down to the dark helplessness of early consiousness.
And lady Rebellion made her bed in the child to till her
garden with enchanting colours:

And the child began to utter:

"If the eye is the corpse of any light
My hands shall weave the shroud"

But such words imply the beard out of which brushes are made,
and if the child were bound to be offspring
he is not necessarily of solemnity.
So the child sat on his behind with tongue sticking out
to suck the rain and he farted in the mud to make
bubbles so light that they flew out like ether.
If one day among others you meet one of these
bubbles stick out your left ear and close your right
eyelid you will hear the loud and clear laughter of
Respaud, the big bearded child seated and you, for once,
will have caught the star studded wink of hope.

                Cheers to the painter Respaud…cheers!

Olivier COMPTE