Constant DETRÉ Painter ( 1891 - 1945 )
Gallery 2 ( 1930-1940 )
The second Period ( 1930-1940 )
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Miscellaneous Works
He translated some of the writings of his compatriot Béla BALASZ who was a friend of Lenin but who opted to seek refuge in Russia instead of France and who was to write the librettos of some for Béla BARTOK’s best known ballets. With his friend Maurice HENRION ( (6) he also created a shadow theater for which he translated some Hungarian folk-tales such as the Black Amphore based on the Marvellous Mandarin. The wood models he drew and carved (which were still visible at the time of the june 1967 auction at Hotel Drouot (according to M. Henrion) have not been preserved. He collaborated with his friend Geza BLATTNER, a highly individualistic puppeteer and also a good painter, who founded the puppet theater called « Rainbow » (first period ). He also did engravings with another friend Emeric TIMAR.
This period was in sharp contrast thanks to this marriage with a French artist born in Yzeure (Allier), Claire Carnat, a gifted puppet designer. He met her in Paris, and she had trained at the Elisa Lemonnier School (then directed by the aunt of the painter Yves Brayer). Together they founded from scratch a puppet theater called « COU-COU » touring in season such spas as The Bourboule (Puy de Dôme), and performed in Paris as well, Salle Pleyel, the Vieux Colombier, and for Gaston BATY (the well-known theatrical director). His pastels now celebrate with optimism the charms of womanhood : such as various specimens of « madams » whom he called SUZYS, or sly Paris characters, feminine heads and bodies and elongated boyish female figures (the so-called « garçonnes ») or contrarily voluptuous creatures, sketched with such promptitude on the spot that they appear endowed with an intense appetite for life, such is their verisimilitude. A few Algerian pastels remain as testimony of the period of his honeymoon.