C’is, indeed, the purity of  graphics, the grace which emanates from the female silhouettes, the poetry of the colors much more than the expressed ideas or painting of the Haitian company, which gives its specificity to L’œuvre of Jean Rene Jerome.
                 
Jean Rene Jerome who one had been accustomed of cultural Saturdays of the Brochette gallery, started to paint with approximately of 1963. Without taking time S’to inform and to familiarize themselves with the techniques of bases of painting, trusting  only only has its instinct, it S’directs upon the departure, towards tachism. But having quickly explored all the possibilities which could offer to him this unable style D’to express its major emotions, it become aware of its weakness and its limits and, rather than on S’enliser, it decided to go into reverse and to take again painting and the drawing in their basic techniques.
                
Courageously it is put at work, developed its drawing, learned how to control the colors and especially to build its œuvres. L’abstract it turned towards figurative mitigated which L’obliged with a certain discipline. The tachism did not disappear, it went, during some time still, to be used as background, S’opposing to the creation of the local tone and especially to the limitation of the surfaces coloured by the drawing. C’is L’time of the marines and the naked ones.

About 1968, Jean Rene Jerome S’directed towards a more direct realism. The subject passed to the first. D’access tried " L’incipient impressionism", it ravisa, driven by preoccupations of simplicity and an examination. Its pallet S’impoverishes and its œuvres took L’pace of simple camaieux. But graphics gained in flexibility and elegance.

Jusqu’here it S’was expressed by means of the gouache and of L’watercolour. L’oils then L’acrylic started to fascinate it, but especially it felt attracted by the concrete matter : the stones, the ends of string, L’clay, the papier-mâché qu’it welded with its paste and which in the content translated a sensuality qu’it would have liked to make conceal but qu’it badly managed to control. There however rather quickly this qu’it could be the easy one and D’artificial in this technique or the forms was broken, sometimes raised, and or destroyed L’in going from the drawing. It returns to precede traditional trying however to suggest to L’helps of its paste, the disappeared materials. [read MORE]

Dieudonné Cédor
          
When in 1958, Jacques Alexis9 regarded it as " painter of the people ", Dieudonné Cédor was with L’apogee of its career. “This time, like all the others, I went to L’exposure of Cédor thus qu’one will receive a lesson D’love and of human fraternity, with the certainty to meet the language of the truth and the beauty”. The way had been long, qu’it had traversed since its entry in the center D’art in 1946. Dewitt Peters1 L’had immediately noticed and a few months after L’to later have to entrust have Rigaud Benoit8 instructed to teach him the principles from L’pictorial art, it had made of him a chief D’workshop, then L’had to call with the council D’administration of the center. Already at that time, the painting of Cédor which S’was quickly imposed on the international market, N’had anything L’atmosphere enchanter of that of the other primitive ones. There was a kind of brutality in the color, the drawing and the topics. The technique remained rather close to Stone Benoit8 with manifest loans with Hector Hyppolite4. It staged the plans, gave to the characters enormous heads, proportioned them with their importance. But its a little believed strong colors, N’had neither fluidity, nor the purity of those Rigaud Benoit8. It liked the greyness and the greens flarings ; it juxtaposes the blue ones of bright Prussia and reds. Its drawing had a kind of calculated stiffness which until in the scenes of Shrove Tuesday, weighed down the movement and dehumanized the characters. Rodman7 had noted that Cédor was a better painter when its drawing tended to the abstractions or when it severely brushed a portrait like his All Saints' day Louverture. The flowered branches borrowed from Hector Hyppolite4 and which framed the portrait, became at his place lightenings necessary. In Campos, it had tried to find calms it and the joy of the relaxation after the hard working day. But, in the raw light which had exalté its brown, the destitution of the characters jumped to the eyes and the dilapidation of the decoration howled despair D’a situation unworthy of L’man. 
 
This silent was ambitious and one entêté which knew this qu’it wanted and sought the means of carrying out its ideal. Rodman7 had announced that, already towards 1948, Cédor courses of the evening in L intention’followed to be able to read the contemporary French poets. Assoiffé of knowing, it could not thus be satisfied with empirical knowledge in the field of L’art and, far from graying it, its successes had opened the eyes to him on its insufficiencies. Especially, it was anxious, conscious of misery, the exploitations and the injustices which, around him, degraded L’Haitian man until plastering it on the level of the animal. Wire of peasant, come very young with Port-with-Prince, it lived in a popular  district. It knew the drama of the shantytowns, not like the indigenists, for L’to have to look at by far, but for L’to have lived. It felt that L’art could play in favour of disinherited and that its duty was D’to help at least to make become aware. It had to say too much to accept D’being limited by technical deficiencies. It was thus L’one of the minors of the dissidents and L’one of the pioneers of the F.D.A.P.  
                  
At the hearth, after having made close-cropped table of the past, it was put courageously at work. It extracted the maximum of the lessons from Price2, Pinchinat3 and Mrs Moral®. It discovered Michel-Angel31, Gauguin34, Van Gogh28 and Cézanne29 and studied them in detail ; nothing seemed to have to stop the thirst for knowledge; when it did not comb, it read or divided into sheets works D’art. Jusqu’in 1960-62, it was an uninterrupted search ;  each œuvre for him was a new experiment and also a source D’concern and D’dissatisfaction.

Posted : Sun. March 05, 2006