This is when he suggested that we experiment with "automatic" painting; this was also when he painted the "le combat des Walkyries" mentioned earlier. Above all, this painting contains the seed of his future evolution. He becomes aware that a pictorial language exists apart from a simple figurative approach.

He paints four big canvases, one for each season, using the "Basin of the Three Graces" in the Saint-Pierre park in Calais, as his central theme. The line asserts itself and, by a freer rendering, expresses with greater acuity the nature of the surroundings and of the central characters: nannies, a couple, soldiers, and strolling people. The area in color is more assertive: bright green and gray for spring, dark green and red for the summer, orange and black for the fall, brown and gray for the winter. He has already started to master the orchestration of colors. The color does not fill in a form, laid down flat; it stands be itself and becomes a modality in itself.

A text written by Henry LHOTELLIER. This text appeared in the magazine, Bononia, no. 18 of the first semester of 1991. This review is published by the Association des amis du musée de Boulogne-sur-Mer. (Translated and edited into English by Dan Harder, Christine Lemor-Drake and Catherine Theilen Burke).

Alfred Georgres REGNER, Painter-Engraver
n° 22 - Picture, Painting - Le combat de Walkyries (The combat of Valkyrie) - 1925 - Oil on canvas - 26 x 38 cm

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