The artist


For three years, Bouts attended and taught Philosophy of Art in France.


He sought and found his own way, from which he never parted. Only the great artist pays the high price of this uncompromising loyalty to himself, since he alone, patiently and harmoniously, is able to combine the most concrete technical craft expertise with the finest pictorial language. This helps us understand why, very early - from his decisive encounter with Henry Charlier - Bouts has proved sensitive to the appeal of the strict core values of painting and sculpture, while remaining attentive to decorative elements and aspects that still deserve to be considered because, unlike what some think, they do not diminish the merits of an artistic work, especially because they come from the same plastic beauty and charm of every authentic work of art. It is also important to notice that he has never been a committed artist! Not only in relation to politcs, but also to this or that supposed vanguard line. It's as a man - not as an artist – that he assumed political, philosophical or religious positions. Nobody could take him away from his chosen path, disdainful to the extreme of not only artistic chapels, critical opinions and judgments, but also official exhibitions and fairs. He was irreconcilable by nature. He took little interest in what the public might think of art, not only that of others but also of his own. He remained until the end of his life true to the route he had chosen in his youth.

Bouts Bernard was always in a lonely position in relation to painting and other visual arts.

He protested either with irony or contempt against the fashions and lines, against all the isms and artistic movements that took place in the old world, especially during this century. He fought the School of Paris and the unstoppable, successive, overwhelming changes - and for him all unjustifiable art subjected to the tyranny of the market in the changes society of consumerism. It is always exciting in this field, to go against the odds, or, as in Bouts’ case, to go against all odds. Instead of seeking inspiration in Cubism, Surrealism and other manifestations of Contemporary Art in order to perform his wonderful creative power, he prefers to turn to the rock painting, to the forms of the old pitchers, to the achievements of artists in ancient China, Egypt, Ancient Greece, Byzantium, the Middle Ages of the thirteenth century and other periods. This behavior is indeed sui generis. It aims to return to the constant of the periods, in his opinion, decisive in the history of art, led by the characteristics of his spirit and specialized studies. Bernard Bouts saw no point in worrying about periods or distinctive phases in his work, because he always worked in the same direction. It was not uncommon for him to be simultaneously making three paintings of different thematic frames and in different techniques.


< his childhood and youth
> the relationship with the sea
 



biografie


Denise Olibet,
his wife, in 1937.
(1913 - 2003)



Bernard in 1950.