.Rebeyrolle

Paul Reyberolle (1926-2005) exhibited for the first time at the Galerie Maeght in 1967. “He found a way to convey in a single gesture the force of painting in the vibration of the paint. » writes Michel Foucault. The artist recomposes the shapes, cuts out the silhouettes. He stands entirely in his paintings with all his strength and his anger.

With him, horror becomes a great feeling. “When a canvas speaks, the painter creates literature. » writes Sartre in a preface which he devotes to him. He remains one of the most contested Maeght artists. It took all the strength of conviction of Aimé Maeght for the National Galleries of the Grand Palais to present his work in 1979, Maeght published the catalog. The large walls of the Foundation which regularly house his large canvases, give rise to a desire in him to permanently present his work. Also, he opened his own Foundation near Limoges in Eymoutiers. In the spring of 2000, he designed for the Maeght Foundation what would prove to be his final retrospective.

"...Almost no one dares to notice today, or dares to say, what is nevertheless obvious: that the most indirect forms of art are also those which best allow imposters to conceal their absence of being."

Terrific, right?

However, this extract of text is not recent, it was not written in front of a recent installation or conceptual work, no it dates from 1967. 55 years!

It is signed Claude Roy, an immense and little-known writer, and it appears in this Derrière Le Miroir, published by my grandfather on the occasion of a Paul Rebeyrolle exhibition.

I find it wonderful that Claude Roy dares to use the term impostor. I often read and reread this text which remains terribly current.