L A T I N A B A B I E . C O M " ...VISUALEYES."

PIERRE ROY 1880-1950

Pierre Roy a relative of the famous French writer Jules Vernes was borned in Nantes in 1880. One of the original surrealists, Roy may be considered an immediate father of magic realism or superrealism. When he was 30 he met fauvist creators and writers Salmon, Appolinaire and Max Jacob. Later he met Paul Eluard, Philippe Soupault, Marcel Duchamp and Picabia and became interested in surrealism. The first group exhibition of surrealist artists was in 1925 at the Galerie Pierre; it included Jean Arp, Giorgio de Chirico, Max Ernst, Paul Klee, Andre Masson, Joan Miro, Man Ray, Picasso and Pierre Roy.
Unusual and "mystère onirique" are the keys to his work which represents, in meticulous detail, recognizable scenes and objects which are taken out of natural context, distorted and combined in fantastic ways as they might be in dreams; its sources are in the art of fauvist painter Henri Rousseau and also De Chirico who was a very good friend of him. Danger on the Stairs, 1927 or 1928 is an overt example of fantastic dissociation, but nonetheless effective for that. Pierre Roy is especially appreciated in the United States where he often exhibited his paintings; several of them were reproduced on the cover of Vogue magazine. Among his admirors were Jean Cocteau and Aragon.

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		PIERRE ROY 1880-1950 Pierre Roy a relative of the famous French writer Jules Vernes was borned in Nantes in 1880. One of the original surrealists, Roy may be considered an immediate father of magic realism or superrealism. When he was 30 he met fauvist creators and writers Salmon, Appolinaire and Max Jacob. Later he met Paul Eluard, Philippe Soupault, Marcel Duchamp and Picabia and became interested in surrealism. The first group exhibition of surrealist artists was in 1925 at the Galerie Pierre; it included Jean Arp, Giorgio de Chirico, Max Ernst, Paul Klee, Andre Masson, Joan Miro, Man Ray, Picasso and Pierre Roy. Unusual and "mystère onirique" are the keys to his work which represents, in meticulous detail, recognizable scenes and objects which are taken out of natural context, distorted and combined in fantastic ways as they might be in dreams; its sources are in the art of fauvist painter Henri Rousseau and also De Chirico who was a very good friend of him. Danger on the Stairs, 1927 or 1928 is an overt example of fantastic dissociation, but nonetheless effective for that. Pierre Roy is especially appreciated in the United States where he often exhibited his paintings; several of them were reproduced on the cover of Vogue magazine. Among his admirors were Jean Cocteau and Aragon. back