In his rich artistic career, Landier painted the plastic song of Venice, Prague, Paris and his love for Tuscany.
In his rich artistic career, Landier painted the plastic song, from Venice, Prague, Paris and its Landier is not a craftsman of Art but a poet: every day, for nine hours in a row, he started to paint with a feverish frenzy, in a firm drawing: Impéria Alta, La Casa della Pace, La Via Paradiso etc.
To stop only at Onéglia on the seafront. On his canvases, he painted the facades of the old town dressed in the most beautiful topazes of his palette, fiery golds under the ultramarine wink of the sky. The sun splashed the roofs and facades of Imperia with sulphur.
An old man in green sat on his bench looking at the pavements of the street. To these impetuous vermillons were added the ambers of the fruits. To these hilarious cinnabars were added yellow octaves in counter-ut of Rimbaud's "singing phosphors", baroque or reasoned plans in the great tohu-bohus of the instantaneous. Under his brushes, IMPERIA had the fever of exalting colours in green and red verticals. Between each painting, he ate a few olives, IMPERIA's speciality, while thinking about the writing of his future paintings.
For Landier's style here was transformed in the unshaded, crackling, hallucinatory light of his pure yellows, which the colour merchants platonically call "lemon yellows".
Guy Vignoht
