Still Life With Peaches By Georges Rohner

Style: French School 20th centuryCondition: Very good conditionTechnique: Oil on canvas Other: Signed lower rightDimension: 30/30cmDimension with frame: 43/43 cm Style: French School 20th centuryCondition: Very good conditionTechnique: Oil on canvas Other: Signed lower rightDimension: 30/30cmDimension with frame: 43/43 cm He was a student at the École des Beaux-Arts in Paris under Lucien Simon from 1929 to 1932. From 1934 to 1936, he completed his military service in the Antilles. He was a lecturer at the École des Beaux-Arts and then a professor at the École des Arts Décoratifs in Paris. He was elected academician and knight of the Legion of Honor and was professor of painting at the School of Decorative Arts in Paris. He participated in the Parisian salons: of May, from 1932 of the Independents, from 1934 of the Tuileries, regularly since 1946 at the Salon d'Automne, of the Painters Witnesses of their Time, as well as in numerous exhibitions devoted to French art in the United States, Brazil, Switzerland, Italy, Spain, Holland, Belgium, Poland. He showed his works in numerous solo exhibitions. After having undergone the combined influence of Braque and Derain, in 1935, he joined the Forces Nouvelles group founded by Henri Héraut and including among others Jeannot and Humblot who with him will remain faithful thereafter to the adopted aesthetic, that is to say the reference to the "painters of reality" of the 17th century and in particular to Georges de la Tour. What they find there is the justification for a return to the object in reaction against the abstraction of contemporary art forms at the same time as the most severe rules of composition as well as in terms of color harmonies as plastically speaking, which is not without a certain desire for "Trompe-l'oeil". From 1934 to 1936, he executed decorations for the town hall of Basse-Terre and for the Banque de la Gadeloupe in Pointe-à-Pitre. In 1948, the state commissioned an important composition from him intended for the string instrument class at the music conservatory. In the rest of his work, the icy and smooth aspect of his technique, the cold impassivity of observation with which he depicts his subjects, sometimes the search for strangeness especially in the choice of the angle of vision or in the juxtaposition of incompatible elements, made him actively related to surrealism, of which all separates. In 1966-67, a stay in Rome provided him with the theme for a series of paintings, in which he found an echo of Chirico's deserted colonnades. When a certain icy gaze, fixed on the impassivity of ordered architectures, made possible a reading of the strictest reality in the second degree, the suddenly common detail in its incongruity of a passer-by in the square, restores the theme to the anecdote.