In the press
René Chabannes (gallery owner) - Galerie Christiane Vallé
“Georges COULOMB's painting inevitably makes me think of this small landscape of the Bois d'Amour painted by Serusier under the dictation of Gauguin:
"How do you see these trees? They are yellow, well, put some yellow; This rather blue shadow, paint it with pure ultramarine; Those red leaves? put some vermilion. We also find there a search for simplification, stylization and a taste for beautiful pictorial material as well as the strongly sensual side of its sensitivity.
Besides, did he not start with sculpture, the tactile, when he felt in him the need for silent creation. Then very quickly, it is the painter's eye which sees, the gaze fixed on things, which analyzes and plastically reconstructs the world, translates it by the gesture of the hand on the canvas. And it is not enough to see, it is necessary to tear from things the secret of their permanence.
Georges COULOMB lives in an exuberant region where his personality has flourished and refined.
He drew with full hands, full pencils, full brushes in the intense life which surrounded him and which still surrounds him, but now he embraces everything he sees: Paris, Brittany, Provence, Alsace, all France and its wealth will never fill his happiness to paint and his trips to Japan have opened up new horizons for him. The world is an orchestra of colors with infinite nuances. Ah life! And the joy of being a painter to express all these sensations.
In full possession of his Art, he does not paint by intellectual judgment but by sensitivity, intuition and sensuality, the gesture of the hand tasting the quality of a material, he applies it with speed and ardor with which he transposes into lines and in color all the emotions that reality arouses in him.
For him, Art is like a fight. In Art, you have to put your skin on it and he would certainly prefer not to say anything, than to express himself weakly.
In this sense, he joins the spirit of Van Gogh which it would be difficult to give another definition.
Georges COULOMB is not easily satisfied, worried. If his painting in which he gives the best of himself is nourished by the very substance of his life, he does it with such discretion, such modesty that he does not know it himself.
Then she becomes independent, going towards her destiny. It is there, in front of us in its completion and the pleasure it offers us is sufficient. ”
Louis Bretou (journalist), Millau
« Georges COULOMB is a born observer, he intensely prints the images in his mind which reconstitutes and translates them in a very individual manner. After drawing a few rough sketches, he starts working on the painting in his studio. No faithful transcription but a reconstruction through his mind which remodels the shapes and enhances the colours. Here is the cause of this exuberant restitution. The artist is more in search of shock than poetry. Masses and colours before everything. That is why Georges Coulomb is so good at seascapes and more particulaly at landscapes. His still-lives are not still at all as they vibrate with an intensity amplified by a powerful line and the heat of colour applied in large strokes with a knife. Here again, all is observation and calculation to produce a particular effect. Georges Coulomb’s painting offers the visitor a true pictorial firework where warmth an harmony are not produced by the use of many shades. On the contrary Georges Coulomb’s palette is relatively sober but he knows how to make the most of it, by mixing the colours cleverly and relatively sober but he knows how to make the most of it, by mixing the colors cleverly and associating yellows and blues in highly structured compositions. As a conclusion, I will say that we have with Georges COULOMB a painter of joy who, in resounding, coloured and highly structured volumes, knows how to stop our vision and pass on to us his joy to live, through a festive painting « .
Pierre Feille (gallery owner), Clairac
“Passion, lyricism, colorful daring, make Georges Coulomb an unusual painter. Certainly, he is classed among the painters of the Marseille school. Certainly, we find this creamy, sensual paste, these pure tones which characterize the followers of this group.
Painter of instinct, Georges Coulomb speaks little. However, he admits "hearing nothing, feeling nothing, being cut off from the assembly when painting, even being in a daze". Its large touches of material, whether applied by the spatula, by the fingers or directly from the tube, translate a long-contained violence, a strong emotion, a vivacity which dictate the gesture. Here a blue arabesque, there a long red trail, elsewhere an imposing yellow comma, masks the canvas.
Perfectly readable, this painting obeys a flawless design, but which knows how to be forgotten. Bouquets, landscapes, seascapes, still lifes, all the classic arsenal of an artist scrolls, but recreated, revised, corrected, kneaded, passed through the mill of a high interior requirement.
Marseillais therefore, Georges Coulomb, since he lives there. But expressionist first. "
Charles Bremond (writer and art critic)
“… Coulomb's gifts as a colourist are affirmed in a reduced but very nuanced palette, a living invoice rigged on an impeccable design. Lover of memorized vision, bent to its inner demands, Coulomb lets us meditate on transfigured nature. And this modestly, step by step… ”
In the press
Some articles online
Journal La Montagne
"Georges Coulomb à la galerie Christiane Vallé"
Journal le Dauphiné
"Le peintre Georges Coulomb invité d’honneur"
"Trois artistes Port de Boucains invités au Salon de Printemps"
Journal la Provence
"Les peintures chatoyantes de Coulomb"
Journal le midi libre
"Hommage à la peinture chez les vignerons de Tavel"