Georges Lemoine [Continued from page 20] prefers, as media, the woodcut and the lino-cut. He makes varied use of the two extremes of expres sion that these media offerthe flat, forceful surface and the delicate lineand often achieves his finest effects where the two are combinedwith white lines, shading or dotted struc tures carved out of a heavy black area and with black-line drawings on a white ground. The form-language of this young imagier is of a winning simplicity that is at once primi tive and subtle. Lemoine himself admires not only the old images populaires but the naturally expressive woodcuts of Gauguin and the peculiar charm of children's clumsily-cut linos. He likes the spontaneous and fortuitous elements, the improvisation of the cutting techniques, the necessary reduction to simple terms which he calls an 'economy of words'. And since he always cuts and prints his own wood blocks and linos, regardless of the reproduction process to be used for them later, his illustrations have both the quality of a personal graphic idiom and the force of individual crafts manship. This attitude to his work naturally predestines him for book illustration, but magazines, printers, advertising agencies and tourist organizations have used his work as well as several big French publishing houses. It is perhaps not surprising that his style should be appropriate to the inter pretation of tourist, culinary and folklore motifs, as well as to the spirit of children's books, but Lemoine has proved that it can also be successfully harnessed to promotion and public relations jobs, like those he has undertaken for the Inter national Wool Secretariat. Lingering with pleasure over the work of this young French artist, one finds oneself dreaming of the many attractive briefs one would like to see entrusted to him. 24

Graphis de | 1967 | | page 26