Oudot belongs to a group of artists who, without trying to shock, have asserted them selves between the two wars and been given the name of 'Painters of the poetic reality'. They are generally considered as the final product of Impressionism. This has meant giving Impressionism and its consequences an interpretation that the movement certainly did not have at the beginning; and it is not because these painters have taken the landscape as an essential theme that they should be credited with Impressionist descent; Oudot's art has, in fact, a fixity that contradicts the mobility of Impressionism. His large blue skies, his dominant greys, his slate tones are the opposite of scintillating light; he seeks stability rather than instantaneity.
He is one that will remain true to a very classical conception of art, in which an always controlled emotion admits of no facility. Nature remains his inspiration under all circumstances, but it is Nature conceived anew, seen through a tense, penetrating sensitivity that is never lacking.
Text from 'A dictionary of Modern painting'
Lot No 112
Two Young Women Bathing in the Woods
Venice
Cemin dans la campagne
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