In the press
Louis Bretou (journalist), Millau
« Georges COULOMB is a born observer, he intensely prints the images in his mind which reconstitutes and translates them in a very individual manner. After drawing a few rough sketches, he starts working on the painting in his studio. No faithful transcription but a reconstruction through his mind which remodels the shapes and enhances the colours. Here is the cause of this exuberant restitution. The artist is more in search of shock than poetry. Masses and colours before everything. That is why Georges Coulomb is so good at seascapes and more particulaly at landscapes. His still-lives are not still at all as they vibrate with an intensity amplified by a powerful line and the heat of colour applied in large strokes with a knife. Here again, all is observation and calculation to produce a particular effect. Georges Coulomb’s painting offers the visitor a true pictorial firework where warmth an harmony are not produced by the use of many shades. On the contrary Georges Coulomb’s palette is relatively sober but he knows how to make the most of it, by mixing the colours cleverly and relatively sober but he knows how to make the most of it, by mixing the colors cleverly and associating yellows and blues in highly structured compositions. As a conclusion, I will say that we have with Georges COULOMB a painter of joy who, in resounding, coloured and highly structured volumes, knows how to stop our vision and pass on to us his joy to live, through a festive painting « .
« Watching Georges COULOMB painting reminds me of this little landscape painted by SERUSIER under GAUGUIN’s instructions :
What colour do you see the trees ?
They are yellow
So paint them yellow ; this shadow which looks rather blue, paint it with ultramarine
what about these red leaves ? Use vermilon “.
We also find in it a research for simplifying stylising and a taste for a beautibul pictorial matter, as well as a true sensual sensitivity. Not surprising when we remember he started with sculpture when he felt the urge for silent creation. Very quickly it’s the painter’s eye that sees, his glance on the things that analyses, reconstructs the world from the point of view of form, translates it through a festure from the hand onto the canvas. And it is not enough to see, it is still more important to penetrate the secret of the permanency of things.
Georges COULOMB lives in an exuberant area where his personality has had the opportunity to refine and come out. He took ardently with all his pencils, all his brushes, in the intense life around him, but now he takes in all he sees. Paris, Brittany, Provence, Alsace, all of France with its diversity will never fulfil his joy to paint and his trips to Japan have opened new horizons to him. The world is like an orchestra full of infinite shades. Ah la vie ! and the joy to be a painter able to express all these feelings. At the top of his art, he does not paint with his brain but with his sensisbility, his intuition ; his gesture tastes the quality of the matter and he applies it quickly and ardently, transposing into his strokes and colours all the emotions reality arouses in him. For him, painting is fighting. He has to put everything in his work. He’d rather not say anything than express himself weakly. In this there is a similarity with VAN GOGH’s ideal.
Georges COULOMB is not easily satisfied. If his painting, in which he puts the best part of himself, is fed with the proper substance of his life, he does it so discreetly and with such modesty that he seems to ignore it. Then his work becomes independant and follows its destiny. Here it is in front of us in its culmination to give us a wonderful pleasure”.