Updated on 19 February 2017 (Harvard referencing).
3 April 2016. Turning the page again in the study guide to p. 49 (Open College of the Arts, 2011), I wanted to know more about the painter of “Bouquet in a Pitcher” (Buffet, 1981) depicted on that page. I find the style of the painting attractive, both the use of strong lines and the colour contrast.
Bernard Buffet (1928 – 1999) was a expressionist painter, who was celebrated as Picasso’s legitimate successor at the height of his time. Later the art market lost interest (maybe because he was overtaken by newer developments?). Looking on the internet for more of his works I became aware of the site published by the virtual Musee Bernard Buffet (Lombard, 2017). I am not so sure what to think about his paintings showing persons. The angular style reminds me of a certain type of murals, which were immensely popular with school architects in Austria during the 1960s and 1970s. I remember that our primary school had one of these as well. His style, I think, looks best when used with natural landscapes. The very last of his paintings, “Tempête en Bretagne” (Buffet, 1999), is one of my favourites. Buffet knew then he would be dying of Parkinson’s disease and decided to end his life in the same year. The painting is very strong, it appears to me as if Buffet had summoned all his skill to create a farewell message to remember.
Buffet, B. (1981) Bouquet in a Pitcher [oil on canvas] [online]. Private collection. Available at: http://www.bridgemanimages.com/en-GB/asset/116947/buffet-bernard-1928-99/bouquet-in-a-pitcher-1981-oil-on-canvas [Accessed 19 February 2017]
Buffet, B. (1999) Tempête en Bretagne [oil on canvas] [online]. [n.a.]. Available at: http://museebernardbuffet.com/en9199.html [Accessed 19 February 2017]
Lombard, M. (2017) Bernard Buffet [online] Musee Bernard Buffet. Available at: http://museebernardbuffet.com/index.html [Accessed 19 February 2017]
Open College of the Arts (2011) Painting 1. The Practice of Painting. The Bridgeman Art Library, London, New York, Paris, p. 49.