PAINTINGS 1912-1913 
 PAINTINGS 1914-1915 
 PAINTINGS 1916-1920 
 PAINTINGS 1921-1923 
 PAINTINGS 1924-1926 
 PAINTINGS 1926-1929 
 PAINTINGS 1928-1935 
 PAINTINGS 1933-1942 
 PAINTINGS 1942-1956 






  PAINTING 1933-1942 РУ DE EN

Still lifes and interiors become less and less naturalistic, there is a shift towards generalisation, even almost abstraction. For example, an armchair is represented by a few lines, a figure by a few spots. Such findings will take root in the future.
In the backgrounds vertical wavy blue stripes appear on pale blue, with speckles in between (catalogue raisonné Nos. 476, 492, 493). Seated in an armchair appears (Nos. 488, 489). Later on, the interiors become overgrown with details; a piano (No. 513) and chess (No. 517) appear. Still lifes are composed of the same objects as before: a palette, masks, a pipe, a plate of fruit, a drapery; but these objects are to a greater or lesser extent gradually deconstructed, melted away, becoming signs of subjects or just elements of painting, leaving behind only colourful spots. The objects are modelled in a generalised and simplified way with a high degree of spontaneity, sketchiness. Straight lines are deliberately not drawn straight, they wiggle as if ashamed of the need to be straight (there is something of an adolescent desire to muss the hair that has been brushed back or a too neatly tailored suit). The works seem to shout: we don't want to be neat and orderly, we are as we are; whoever understands our true, not ostentatious beauty - will appreciate it. The transition from fluttering colour to local spots of colour (this property will take root, there will be no return to light-and-shade). Local colour can also flutter within a spot, but according to its own laws, which have nothing to do with light-and-shade. This completes the transition to primitivism, which used to be only in plastic previously. The colouring is still faded, but it is no longer yellow all over the field, but composite, more often greenish or bluish with the addition of reddish. The main colours (usually all muted) are: blue (Puni-blau), green (chrome oxide), yellow-green (mustard), dark orange (in redness), white, black (grey). The stroke is mostly liquid or very liquid. Craquelures (old used canvas) and light crumbles are actively used, giving the work personality, revitalising it and breathing traces and spirit of the time into it (this characteristic will take root).
Participation in exhibitions: until 1943, practically does not participate in exhibitions, except for the regular Salons Tuileries; 1943 - solo exhibition at Galerie Louis Carré.

1933-1934. Masks and Palette. Oil, canvas. 27 х 61 cm 1934. Harlequin. Oil, canvas. 46 х 38 cm 1934-1935. Chair, Masks, Palette. Oil, canvas. 39,5 х 31,5 cm 1936-1937. Easel and Piano. Oil, cardboard. 19 х 14,5 cm
1935-1936. Masks. Oil, canvas. 42 х 60. cm. Kunsthalle Zürich 1937-1938. Interior with Chess. Oil, canvas. 16 х 20,5 cm 1938-1939. Woman in Green Chair. Oil, canvas. 19 х 18 cm 1938-1939. Plate of Fruit on White Chair. Oil, cardboard. 16,5 x 32,5 cm
1942-1943. Interior. Oil, cardboard. 19 x 50,5 cm 1943-1944. Interior with Chess. Oil, canvas. 15 х 16 cm 1942. White Shoes. Oil, gouache, paper on masonite. 70 x 27,5 cm 1942. Woman in Green Chair. Oil, canvas. 20 х 15 cm