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Pedro CreixamsCredit is Dead oil on canvas painting Figurative Expressionism School of Paris1928
1928
About the Item
Title: Le Bouilt (The Boil)
Author: Pedro Creixams (1893-1965)
Date: 1928
Technique: Oil on canvas
Dimensions: 31.9 x 25.6 in (unframed)
Signature: Signed on the front and back
Inscriptions: “Le Crédit est Mort” on the front; title, date, and signature on the back
Artistic Movement: Figurative Expressionism, School of Paris
Provenance: Barcelona
DESCRIPTION OF THE WORK
Le Bouilt (The Boil) is a highly expressive work, executed with loose and vibrant brushstrokes, characteristic of Pedro Creixams' production in the 1920s. The scene portrays a rugged-looking man, dressed in a white shirt and top hat, with a tense expression as he manipulates an object in his hands. His bare feet and the dramatic lighting enhance the sense of struggle and rawness of the scene.
In the upper left corner, an inscription reads: “Le Crédit est Mort” ("Credit is Dead"), a statement suggesting a social critique, possibly reflecting the economic tensions of interwar France.
The dark composition, thick oil texture, and expressive figure recall the pictorial language of artists such as Pablo Picasso, Georges Rouault, and James Ensor, who, like Creixams, explored the human figure with intense psychological depth and used color and material for emotional impact.
PEDRO CREIXAMS: BIOGRAPHY AND CONTEXT
Pedro Creixams (1893-1965) was a Catalan painter who spent much of his career in Paris, where he integrated into the bohemian environment of Montmartre and Montparnasse. From the outset, he showed great interest in the human figure, depicting everyday life scenes with an expressionist and fauvist approach.
In Paris, Creixams maintained a close relationship with Pablo Picasso, sharing a fascination for representing popular life, the circus, and the harshness of human existence. His work also engages with that of Georges Rouault, due to the dramatization of his figures, and with the expressionism of the School of Paris.
Throughout his career, Creixams exhibited in galleries and art salons in France and Spain, establishing himself as an artist with a unique style, bridging figurative tradition and 20th-century avant-garde movements.
RELATIONSHIP WITH PICASSO AND SIMILAR ARTISTS
Pedro Creixams belonged to the School of Paris, a group of international artists working in the French capital during the 20th century, including Pablo Picasso, Amedeo Modigliani, Chaïm Soutine, and Moïse Kisling.
Pablo Picasso: The connection with Picasso is evident in Creixams' approach to deconstructing figures, the expressiveness of faces, and the dramatic nature of his scenes. Both shared an interest in popular themes and the harshness of urban life.
Georges Rouault: He shares Rouault’s thick brushstrokes, dark tones, and the influence of religious iconography in portraying figures with an almost mystical intensity.
James Ensor: The use of pronounced textures and an unsettling atmosphere links Creixams to Ensor, who also employed painting as a medium for social critique.
Chaïm Soutine: Creixams’ gestural force and distorted human figures resemble Soutine, another major name in the School of Paris.
CONCLUSION
Le Bouilt represents Pedro Creixams at his most expressionist and socially engaged, a painting that converses with figurative tradition and 20th-century avant-garde movements. His connection with Picasso and other School of Paris members reinforces his artistic and historical value, positioning him as a key painter within European figurative expressionism.
- Creator:Pedro Creixams (1893 - 1965, French)
- Creation Year:1928
- Dimensions:Height: 31.89 in (81 cm)Width: 25.6 in (65 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Barcelona, ES
- Reference Number:1stDibs: LU1155215997272
Pedro Creixams
Creixams Picó, Pere. Barcelona, 9.XI.1893 – 5.III.1965. Painter. He was born into a humble family, in the Barcelona neighborhood of Poble Sec. After losing his father at the age of six, he had to work as an apprentice blacksmith. His talents as a singer and musician led him, almost by chance, to the Barcelona Liceo Conservatory, where he began to study at the age of fourteen. There he met Ricard Calvo and worked with him in different classical theater companies. Around 1914 he settled in Paris, specifically in the Montmartre district. His outgoing and open character led him to quickly establish friendships with the circle of poets, writers and artists who lived there: Duffy, Florent Fels, Georges Simenon, Segonzac, Utrillo, Othon Friesz, Modigliani and Picasso, among others.
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