Present from 1890 onwards at the major Salons and renowned galleries,
his paintings attracted the attention of critics, collectors and the state.
In 1912, he was awarded the Bourse d'Indochine and spent eight months exploring the Far East, from where he brought back canvases in exotic colors. During this trip, the King of Cambodia commissioned large decorative panels
for his palace.

In 1924, he was commissioned to create the sets for the Opéra de Marseille.
He was made an Officer of the Legion of Honor in 1928, and received a gold medal at the 1937 International Exhibition.

The artist's talent extends to all genres.

His intensely colored landscapes and photographic framing make him one of Provence's most inventive painters.

Her nudes, where light highlights skin texture and nuances of color, are built like sculptures,
are constructed like sculptures.

Finally, his portraits, such as this one, reveal the full extent of his skill as a technician, colorist and magician of paint.

Here, the artist draws on several artistic currents

To the Impressionists:

The mirror
is used to examine the idea of reflection, while offering the possibility of exploring the play of light.
It also contributes to giving depth to the canvas, by enlarging the space restricted by photographic framing.

The use of facial tones, along with this palette of purples and greens, echoes the work of Théo Van Rysselberghe,
a Belgian neo-impressionist.
His pointillist technique and sense of color create a vibrant, expressive atmosphere, which is also reflected in the texture of the dress and hat.

Echoes of Bonnard and Vuillard

The interior, with its vivid colors and undulating shapes
reminiscent of Pierre Bonnard and Édouard Vuillard. The emphasis on tight shots and the warm ambience of the interior spaces offer an immersive experience.

"He is a Fauve who remained faithful to Impressionism. Too intelligent, he never paints with as much ardor as in this frequent state of blindness."
English art critic