In Pierre GODET, the man and the artist are one and the same. Solidly rooted in the rural valley of Cailly in Normandy, he perfectly exemplifies the friendly and pleasant painter who can combine seriousness with cheerfulness for the benefit of both his life and his art.

From beaches and café terraces to lively markets and urban scenes, Pierre Godet, through his fascinating paintings, pursues his strikingly warm artistic vocation that is enhanced with magical colours and blissful light. His connection with nature allows him to constantly make rediscoveries characterized by an expressive power that reflects the mundane revisited in light of the grandeur of life and the sheer and simple beauty of a bountiful environment. All this is there for whosoever wishes to capture it and masterfully convey it as only Pierre Godet knows how.

Whether sunshine or drizzle, by day or by night, and whatever the season, Godet's brushstroke is always sensitive, and his colours pure and full of vitality. Excelling in this domain and in emotions that nevertheless preserve the stamp of an accomplished master, he devotes himself to artworks that draw us close to the senses and the mind.

André RUELLAN, art critic

The fervour of a Trappist isolated from the world

(…)The natural reserve of Pierre Godet – he was not and never will be a careerist – has marked out for him a snail shell itinerary, from the outside to the centre: New York, Brussels, Le Havre, Dieppe, Cherbourg,
New York and Le Havre... It took until 1982 to find him at last alone in Rouen, on the walls of the Rollin gallery.

Pierre Godet is a fauve among fauves, but outside the cage (french pun: translation of "fauve (fauvism style)" which is also in french a wild beast).
However, the daring of his palette, the confrontation of tones with which he states the motif, and which he refuses to soften, keeps him along side (…)
Van Gogh, Marquet (…), Derain, Vlaminck, Van Dongen… even the azurian Raoul Dufy, in his care of framing, or Alechinski, in his thirst for lyricism (…)

(…) Painting for him is a necessity, an "obsession" at every instant, fed by the demands of sincerity which is constantly raised against his little customs, the talents, the approximates.

Each canvas incarnates the new adversary of his solitary combat, which he seizes as in a struggle under the sun or in the cold. (…) With Pierre Godet there is the fervour of a Trappist isolated from the world this to better enfold the actual universe in his arms.

Daniel FLEURY, art critic

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