Key-elements defining the pictural work of F.A.Courbet:

1-Self-made man of Art: the intuition prevails over and commands the means of expression.

2- The deepening of the subject: force of affirmation of the subject by a silent internal echo.

3- Internal resonance superior to the impulses of the external environment. The print of the world is in interdependance with the response of innate structures of the artist. There is a relation, between these two elements, which oscillates between the equilibrium and disequilibrium, that, however always restabilizes itself between the abstract and the concrete. In this way, the realism of the visual finds itself interdependant of its conceptual abstraction.

4- Thus, the rigid structure, at its various phases, will destructurize itself, will, in a way destroy itself, in a "to and fro " movement, by the means of a soft structure which tends to affirm itself definitly.

5- The maturation and the development of the work expressed are an expression of his global vision.

6- The work goes, retrospectively from the formalism to the abstract. The same technique of a common principle spreads shade, force, equilibrium and line which gather all together in an harmonous, we could even say, a restructured unity.

7- The movment and the instantaneous grasp are the bases of the unity of his work, as well as its ulterior amplification.This approach is associated to a selection of techniques, reconstruing the deepening of the initial intuitive vision.

8- The master of supports of expression: the work tends to postpone the limit of the different materials and supports submitted to the inutition of the work which has to be executed. The water-colour, basic point, is always present. Follow the canvas, the wood, the paper, the iron, as well as polymeric oils... From the mortar to the bronze, from the sand to varied inclusions, the support, whatever it be, must bend itself to the basic concept of the initial work. However, the numerical development of initial works (above all water-colour) has become the essential element of the actual and retrospective development of all his works.

9- The space, the perspective express themselves as well in shade as in deepness, and the colour gradations develop and complete the global vision.

10- The artist uses, includes and surpasses the acquired experience of destructuration (at the wide sense of the term). He expresses, affirms and represents a restructured plastic.


Clip Technique


The essential aspect of this orientation can be summed up in three elements on the plastic and pictural livel: line - shade - force of the impact.

1/ the line: apparent or non, it defines its composition, frames and delimits it, even though, it later cancels itself.

2/ the shades in the deepness of their variation go from the snow, "cathodic image", to the pointillism, from the blends of the water-colours to the clear colours and to paralell lines.

3/ the force of the "stains" which defines the impact is an affirmation: the main element, the immediate grasp of the essential. A judicious balance installs itself between these three data, which spangle his work.

A profound reflexion on the grafic mode of expression must be remarked: a study of the sign which expresses a semiological evolution. We find, in this work, a resonance between between the visible figurative world and the internal vision of the artist. What is expressed is a philosophy of the equilibrium that adapts itself, oscillates, then affirms itself in the work by the means of a destructuration, even a destruction interpreted by the primitive elements of the plastic representation. The consideration of these basic data has permitted to him to enrich the expression, while including it in a more integrated and united "restructuration-reconstruction".

An interpretation of divers elements of expression is realised by the means of a "free unity" which defines the achieved work. This caracteristic, this print of a "Courbet" oscillating between abstraction and realism, while affirming these shade, line and impact, demonstrate, in this manner, an integration of the extreme, between real and abstract.



Sum up: to express, while truly reconstruing would mean, for the artist, the presence of links between abstract and "primitive" form and achieved and realistic form: a continuous development between extremes.

F.A.Courbet grasps the instantaneous, deepens it, uses the acquired experience, gathers the extremes, from the figurative to the abstraction. In this spirit, it is a constant "fountain" of innovation which springs up in an evolution of expression "Art and Technique". He uses, in a non limitative manner, any technic which goes from the water-colour to the numerical one. We could summarize a philosophy of three values of the sign: the line- the shade - the impact balancing between abstraction and reaslim. For F.A.Courbet, tecnologies must be the slaves and not the masters, to be subjuged and commanded.