Richard Guino
Richard Guino brings about a synthesis full of sensuality between classicism and modernity, using a great variety of techniques and materials – wood, wax, marble, bronzes, terracottas, plasters, ivories, glass, ceramics, majolicas, drawings and paintings.
He attended the Ranson Academy in Montmartre where he met Maurice Denis, for whom he realized notably a few low reliefs for the Théâtre des Champs-Élysées.
Handicapped by rheumatoid arthritis, he continued to paint, brushes slipped between his paralysed fingers, protected by narrow bandages.
The dealer, who was admiring a medallion the painter had made of his youngest son Claude, took into his head to “find him a pair of hands”.
An adventure began then between the young sculptor and the old painter, qualified as "miraculous" because of the communion of spirit and sensitivity which developed between the two artists.
After his five years of collaboration with Renoir, intimately wounded by this denial of his creative share which commercial reasons motivated, attempted to reinvent himself, to change his style, exploring new techniques, in parallel to his sculptured work.
A long collaboration began in 1922 with the factory of Sèvres which for more than ten years rendered editions of his models in stoneware and bisque.
His drawings were exhibited at the Maison Barbedienne, his sculptures at the Salon de la Societé des Artistes Décorateurs.
In 1925, Guino attended the International Exhibition of Decorative Arts of Paris where he obtained honorary diplomas for metal and ceramics.
Guino settled with his large family in a bigger studio in Antony, outside of Paris, next to his friend and photographer Bougourd, who was part of the joyful band of artists who lent life to Rue Daguerre.
Guino was indispensable.” The action was not entered against Renoir, a twist which was conveyed in numerous texts and newspaper articles referring to the case.
The goal of the lawsuit was to unveil the exceptional account of this process of creation and to bring to light the original contribution of Guino to the sculptured work, initially obscured by Vollard.
