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 1942-1956 РУ DE EN

After 1942, Pougny developed his definitive pictorial style. It organically inherits his previous manner (1933-1942), the development goes in the direction of increasing figurativeness (but not naturalistic) and a clearer formality of colour spots. The sketchiness and the degree of mystery is reduced, the subjects take on a more formalised appearance as a combination of several spots of different colours, still remaining highly formalised and reduced to the formula of the object. The formula for each subject is of course original, Pougnic. The composition becomes more intense, fractionality is combined with wide fields of colour.
The works become more spectacular - bright and contrasting, new decorative elements appear, such as arabesques of thick white or green lines. New pictorial means also include a variety of hatching, stripes, several new colourful combinations, variations of colour. Colour, like plastic, is also special, in Pougny's own mixes of blue, green, yellow, and orange. Pougny experiments with new colours and colour relationships, for example with the colour of light burnt clay, or pinkish powder in plein air (beach) scenes. An effective technique is to make clear free strokes of light paint over a darker colourful lining (background) that shines through the top layer. Fluttering, lively strokes are also used within some small colourful spots, while the colour of other local spots remains even - at the artist's will.
Busts of harlequins, later to become Pougny's trademark, as well as numerous scenes in the park and on the beach, emerge as subjects and then vary annually.
In general, Pougny's pictorial manner reaches maturity by 1943 and remains quite recognisable during the last 15 years of his life. Occasionally he returns to his previous manner, but no longer to the earlier stages. From previous experience, ingrained findings are retained:
- emphasised handmadeness, individuality and uniqueness of the work, its "irregularity", achieved through free, uneven lines and strokes, deliberate clumsiness of forms; The same purpose is served by used chewed canvases with craquelures and scumbles;
- a primitivised plastic formula of an object or figure - individual, pure Pougnic: squat and clumsy, very laconic, where the main role is given to colour ("suprematism of colour").
Participation in exhibitions: solo exhibitions in 1943 (Galerie Louis Carré), 1947 and 1950 (Galerie de France), 1949 and 1952 (Knoedler Gallery, New York), 1950 (Adams Brothers Gallery, London), 1953 and 1956 (Galerie Marcel Coard). Participated in group exhibitions in the 1950s with increasing frequency as his recognition grew.

1942. Lying Woman. Oil, canvas. 19 х 23 cm. Musée National d'Art Moderne, Paris 1942-1943. Beach in Cannes. Oil, canvas. 12 х 13,5 cm 1943. Home Concert. Oil, canvas. 21 х 24 cm 1943-1944. Model. Oil, canvas. 17,5 х 12,5 cm
1944. Painter's Case on a White Chair. Oil, canvas. 31 х 39 cm 1945-1946. Interior with Woman and Child. Oil, canvas. 21 х 22 cm 1947-1948. Table with Toys. Oil, canvas. 46 х 38 cm 1943. Interior with Red Mat. Oil, cardboard
1944-1945. Harlequin Head. Oil, canvas. 23 х 26 cm 1948. Harlequin in White Gloves. Oil, canvas. 33,5 х 21,5 cm 1950. Interior. Oil, canvas. 75,5 х 24 cm 1951-1952. In the Park. Oil, canvas. 16 х 23 cm
1949. Interior with Blue Chair. Oil, canvas. 24 х 33 cm 1949. Orange Armchair. Oil, canvas. 33 х 36,5 cm 1948-1949. Beach in Cannes. Oil, canvas. 17,5 х 26,5 cm 1950. Artist on the Beach. Oil, canvas. 19 х 27 cm