Edouard Pinion

Edouard Pignon is a painter French of the news École of Paris, born in 1905, died in 1993. Its abundant work, not easily classable, develops per series around various topics which follow one another or are spread simultaneously, sometimes tangle up: dramas of the working condition, veils of the boats and trunks of olive-tree, work of the peasants, cockfights, horror of the wars, plungers naked and solar beaches. With Picasso of which he is the close friend during three decades he fights in the Fifties against the systematism of the socialist Réalisme, without to join his/her friends nonfigurative painters with whom he very frequently exposed starting from the Années 1940 in France and abroad.

Biography

In talks recorded and published between 1962 and 1987 Pinion often evoked itself its personal adventure and its pictorial step, in particular in the search of reality in 1966 and in Contre-courant in 1974. The novelist and essay writer Helene Parmelin (1915-1998), which married it in 1950, made of her route, in 1976 then in 1985, a detailed account.

Marles-the-mines (1905-1927)

Edouard Pignon is born on February 12th, 1905 with Bully-the-Mines, in the Pas-de-Calais. His/her father, underground worker, left following a quarrel Marles-the-Mines but there go back a few weeks later. In 1911 Edouard Pignon attends the dramas caused by a firedamp explosion which is the cause of 250 died in the mine of Clarence: “An enormous explosion was heard. Everyone, the children like the large people, left while running towards the mine, located at a few kilometers. (…) I saw the workmen whom one went up, flarings, howling or died. After one closed the grids. The parents of those which had remained in the pit, the women studded themselves while howling. ” (. Pinion is also pilot great strikes of the minors: “I was six years old, I left to see what occurred, and there was a load of dragons, sabers to light, on their large horses. (…) I was among all the minors who ran, and the horses which gallopped behind them. (…) There were strikers who sliced the bulges of the horses with razors. ” These images will re-appear later in its paintings.

In 1912 Pinion between at the elementary school where its drawings are appreciated but where the russet-red color of its hair is cause of many brawls. During the war of 1914, the closed school, it remains in the coffee which his/her mother holds: “This coffee was for me an enormous book. I listened to all. I piled up all. It came from people from everywhere, various nationalities, or various cities. During the war - we were with ten kilometers of the face - there were soldiers in all the house, in the barns behind, everywhere, of the soldiers which came in permission, of the soldiers who went up to the face. ” One among fact its portrait with the colored pencils, which contributes to accentuate its desire to draw: “It made my portrait. It me made gift of it. And I was amazed by this capacity at resemblance. There was a magic great power. And it haunted me. At the base of my life of painter, there is certainly the small catch of this soldier. I never knew from where it came nor where it went. ”

In 1919 Pinion, in spite of the will of his/her father, engages with the mine like “galibot”, the following year is made operation in the building then cement-manufacturer-plasterer of ceilings. It reads, is registered in 1922 with a course of drawing by correspondence, low register and painted: “Somebody had run plaster in a plate, and put at the medium a photograph color. I looked at, I found that amusing. And when I returned at home, I ran plaster in a plate, and instead of putting a photograph, I painted something. (…) I copied postcards, I obliged my brother to strip myself to pose, or I copied all that fell me under the hand. ” Pinion pays in 1923 a first voyage to Paris then visit the Museum of Lille: “One day I went to the Museum of Lille, and I saw the Young people and the Old women of Goya. I returned from there very sad. Painting was a splendid, extraordinary thing. But it appeared inaccessible to me, impossible to conquer. ” Built-in 1925 in aviation, Pignon makes its military service in Syria in a workshop of photography, continuing to draw. It decides there to give up the use of the patois to be expressed more but in French. Returned to Marles, it turns over to the mine then works with the construction of the rests. It starts to paint with the oil of the portraits of its close relations.

Before war and the Occupation (1927-1944)

Pinion settles in Paris in 1927, is engaged at Citroen as semi-skilled worker but is quickly laid off. It is then pointer at the Company of the Telephones. It paints after its work of the Autoportrait S then dead Natures and landscapes of the edges of the Seine, visits the museums and the exposures, is interested in the modern art: “My initial reaction was to precipitate me towards Cézanne, then Picasso, Matisse, to go to see Fernand Leger. I went towards works which moved me. In the same way, the first political meeting to which I assisted was in Vel' d' Hiv, for Nicola Sacco and Bartolomeo Vanzetti. ” Pinion is registered at the school of the evening of the boulevard Montparnasse, to Auclair, then follows courses of sculpture at Robert Wlérick and Arnold. It binds to it with the painter Georges Dayez. With the Louvre it copies Delacroix (the Femmes of Algiers ), Tintoret, Greco, Véronèse, Rubens, Rembrandt. In 1929 it at the time of painting environments for photographic portraits. With Dayez it is registered with the newspaper of Henri Barbusse where they meet the painter Arpad Szenes, follows the courses of literature, philosophy and political economy of the working University, in particular of Paul Nizan and Georges Politzer.

Pinion enters in 1931 at Renault as foreman and, being registered with CGTU during a meeting, adheres to the Association Revolutionary Writers and Artists (A.E.A.R.), where it meets many painters, in particular Jean Hélion, Auguste Herbin, Gruber, André Marchand, Maurice Estève, Manessier, Maria Elena Vieira da Silva, but also Louis Aragon and Malraux. Painting the mine, the factories and meetings, inspired of Fernand Leger, it exposes in 1932 for the first time, with the Salon of Independent the. Following its adhesion in 1933 with the Communist party, Pignon is put at foot at Renault and, registered on the “black list”, crosses under difficult conditions one long period of unemployment. Operate in a factory of starters, it is with end of force when Georges Dayez “saves it” by making it engage in the workshop of Lithographie for postcards of his father.

In 1935 Pinion can be thus devoted more to painting. From 1936 with the War he is page setter of the weekly magazine “Glances”. With the sculptor Adam, he plays like appear in the troop of Raymond Rouleau, then with Dullin. In 1936 it still paints landscapes of Shot factories and the , Hommage to the minors of the Asturies killed during the strikes of Spain in 1934, which suggests to him the topic of its first dead Ouvrier : “The dead workman of 1936 (…) stuck rather to a nature symbolic system. It was a kind of abstract figuration. The characters resembled workmen obviously more or less. But it was of nothing a study reality. It was the desire to give the feeling of solidarity, of the cohesion of the grouped men, tightened in front of death, with the feet of a dead man. ” For the great manifestation of the Popular front to the Bastille Pignon paints an enormous portrait of Robespierre.

In 1937 Pinion takes part in “50 painters of time present”, at the sides of Bazaine, Gromaire, Tal Coat, Tanguy, Jacques Villon, and for the first of the “July 14th” of Romain Roland exposes with Picasso, Matisse, Braque, Leger, Jean Lurçat, Laurens. On this occasion it meets Picasso which takes its party and that of the young painters during a violent discussion which it has with Leger. Pinion works for the International exhibition of Paris to the decoration of the House of the War veterans and painted Joueurs of billiards or charts (1938-1939) as well as Maternités (1939-1941): “My Maternités started from a very small fabric of Luca Signorelli, which was the Naissance of the Virgin . (…) I at once began a whole research on the topic of maternity. This one all in all was provided to me by a fabric of Louvre and at the same time by documents of the war of Spain, where one saw a woman leaning on his child. ” Supported by Andre Lhote, Pignon presents its first personal exposure in 1939.

Mobilized in aviation with Villacoublay Pinion, after a retirement until Saint-Jean-Foot-of-Port, returns to Paris in September 1940 and engages in the Résistance. Its house becomes meeting room, of passage and lodging, where Aragon and Elsa Triolet place one moment, but it will have to leave it in 1943, prevented which it is reproduced on a list of hostages. Pinion takes part in 1941 in the exposure of the “Twenty young painters of French tradition”, organized by Bazaine, and in 1943 with “Twelve painters of today” at the sides of his/her friends Bazaine, Leon Gischia, Moal, Manessier, Singier. With Gaston Diehl and in particular Adam, Gischia, Moal, Manessier, Merchant and Singier, Pignon takes part in the foundation of the Salon of May.

Collioure and Ostend (1945-1949)

After a series of very coloured died nature, interiors, of Maternities and Women sitted and accoudées (1943-1945), Pinion, after a stay with Collioure during the summer 1945, painted the Catalan women , the Ladder menders of nets , the Femmes which cry (1946), impregnated hieratic figures, will say it, “of Gothic Picasso and the S”. It is at that time that starts to specify its way of working when it approaches a new topic, by initially multiplying drawings and watercolours according to nature and in its workshop, by carrying out later the synthesis in evolutionary continuations of paintings, that the Galerie of France will not cease from 1946 exposing.

During the winter 1945-1946 made Pinion of long solitary stays to Ostend. They are soon at the origin of a new series (1947-1949) exploiting the contrast of the gray moderate of the sky or broad surfaces of the veils, and the allusive silhouettes of the fishermen, engoncés in their coloured working clotheses. “All contrasted with Collioure in a violent way. It was the winter and the greyness. (…) There was in this port a delicate atmosphere which I liked enormously. I was seized by a kind of swinging of the things, veils, nets, sea (…). The fishermen worked in the frozen air, discharged the cases from fish with tons silver plated (…). The masts pointed out to me certain battles of Uccello (Paolo Uccello) (…). There was ice on the port, of snow in the air, the vague frosts. ” pignon will remember: “I did not want to paint snow. I made use of it as a white so that the fabric is impregnated with all this snow-covered climate which was épanchait on it. (…) Many curved lines, some lines and of the masts, the characters of a rather geometrical form who leant towards the nets (…) Very sober fabrics, a curve with respect to a line, a pink opposed to a gray, some bistres, some yellows pale, blacks”

Frequently turning over in his mother to Marles, it paints then the Minors (1948-1952). Since 1947 it binds with Jean Vilar which it regularly meets with Leon Gischia and Mario Prassinos, creates its first decorations and costumes for “Schéhérazade” of Jules Supervielle that Vilar goes up to the Festival of Avignon of 1948. Pinion takes the practice to return visit, almost daily during the following years, in Picasso, at which take place of the uninterrupted discussions on the “socialist realism”, preached by the Pravda and Humanity, but to which they are opposed.

Sanary and Vallauris (1949-1958)

During the summer 1949 Pinion remains in Italy then for the first time at Sanary in the Var, of which it paints the port, especially making studies which will be the source, nearly ten years later, of its series of Oliviers : “I initially made quantities of drawings according to peasants with work in the heat of the South. They were vêtus of a simple slipway, which left all the apparent and projecting musculature. And then while walking me in the back-country, I started to look at the olive-trees. (…) Initially my first olive-trees on nature resembled my veils of Ostend. I tried to work with more exactitude, if one wants. And it is there that I felt a kind of desire to apprehend reality more. And by there another manner of conceiving space, because of this precipitation of volumes, the openings of the branches which pressed one on the other because I placed myself very close to the olive-tree: method which I always preserved (…). There was in me a relationship between the olive-tree, the stony ground, the restanques ones, the naked peasant and the goat. I had in front of them an almost identical feeling, all nature appeared made bone and muscles to me. ”

After a first voyage to Venice with his/her friends Zoran Mušič and Ida Barbarigo, Pignon in 1951 settles during the summer and part of the winter at Picasso with Vallauris: “I started again to draw naked rapids (…). I wanted to paint the naked one like the olive-tree in all his complexity. (…) It had it to be shown as if one turned around. I sought, as in the olive-tree later, the joints, I put thousand aspects at the same time, my naked widened, became enormous. But I realized that at the same time I managed to give to the forms on the fabric a certain vitality and a certain sensuality.” Pinion will also take again the topic of the Maternités (1951-1955).

In Vallauris he works with new a dead Ouvrier monumental: “When I made the second dead Ouvrier , one vituperated on this topic chosen by me in full rising abstraction, one said that I was going to become realistic Socialist, when it was not said that I was it. At the same time, the spokespersons of the proletariat replaced the proletariat to write that never the working class could not admit such a painting. (…) It is there, in Vallauris and Sanary, in the middle of the olive-trees, in the calm one and the heat, which I started to feel the possibility of completely finding me with counter-current. I do not want to say that I felt the need to work “against” the abstract art. (…) It is not a question to take party for or against something. Painting is not an electoral campaign. And almost all my friends are abstracted or were it or will be it always. It is with them that I expose and that I always exposed. I could not expose with others. ”

For Jean Vilar Pignon creates into 1951 the decorations and costumes of the first part of Brecht presented in France, “Mother Courage”, with Germaine Montero and Gerard Philippe, and into 1952 of “the new Mandrake” of Jean Vauthier, with Gerard Philippe and Jeanne Moreau.

A new stay of Pinion with Vallauris in 1953 is at the origin of the man to the child deadened , according to the memory of Paloma Picasso deadened on its shoulders whereas it goes up with Picasso, in end-of-day, of the workshop, but also of the series of the Nus to the olive-tree (1953-1954): “It is there that the marriage of naked started and of the olive-tree in my fabrics. I confronted them. They tied between them a kind of conversation. On a side of the fabric there was the olive-tree, other the naked one. The olive-tree seemed naked reversed, and I accentuated in this feel, I saw with the olive-tree the same push of forms as the naked one. ” Pinion approaches simultaneously the series the gathering of the jasmine (1953-1955) and the grape harvest (1953-1955). Under the incentive of Picasso it carries out in Vallauris, during the winter, two more hundred ceramics on the topics of its fabrics: “When I was in Vallauris, I spent one year to make pottery. And I used for these potteries of the elements painted by me lasting all my life. For example of the heads of minors, who transformed themselves into fantastic characters (…). But on much of potteries, I made heads of cocks, by remembering all the cocks that I had known in my childhood. ” The following year Vallauris is source of new continuations, the Electricians whose lifting silhouettes cut out on the sky (1954-1955) and the Peasant squatted , articulating this time man and tree (1954-1955).

While, the Soviet troops entering in Hungary, the opposition is done increasingly manifest between the Communist party and the intellectuals antistaliniens, of which Picasso, Pignon and Helene Parmelin. Pinion continues to work for the theater, in particular in 1956 for “This insane of Platonov” of Anton Tchékhov assembled by Vilar with Maria Casarès and Philippe Noiret, in 1957 for “the Hypochondriac” of Molière, in 1958 for “One badine not with the love” of Musset. After long stays with Cannes at Picasso, then again in Sanary, Pignon paints the landscapes of Sanary and the Colline of Bandol (1956-1958).

Olive-trees, Cockfights and Plungers (1958-1961)

Pinion engages then in some of its more famous series, the Oliviers (1958-1964): “Stuck to the tree, my eye walked all around the form. I tried to translate a space not with 60 degrees, or 45, but with 180 degrees… I was on the olive-tree, his multiple parts hustled myself towards me, entered at the same time my drawing. (…) It is only at the end of several years that the fabrics started to be born. ” “When I painted the Oliviers , I realized that I wanted to destroy the idea of distance between the spectacle represented (…) and the character who looks at”, summarizes T it

After multiple stays in 1958 with Marles-the-Mines, Pignon develops the topic of the Cockfights (1959-1968 and until 1973): “During two years, I went in North twice per week to attend the cockfights. (…) There was crowd around me. Without counting the extraordinary hubbub of the rise of the bets during the combat, smoke, the jokes of the minors, the howls of the children, the gibes. (…) There were sometimes forty engagements in the afternoon. This time reality was truly a reality of combat, of war, a frantic nature. That required initially a notation, a drawing much faster, to say this violence of the combat (…) I worked four or five hours of continuation. (…) All these notations, these drawings made in the time of the movement, (…) gave me a repertory of forms according to the combat. Not forms for themselves, their beauty: but of the expressive forms, of the forms directly resulting from reality, and which were for me the combat even. (…) It was the burst olive-tree, scattered on the surface of the fabric.”

Pinion realizes in 1958 its first Céramique - Sculpture, the man with the flower , for the House of Paris to the International exhibition of Brussels, disputed by the municipality but saved by the arbitration of Jean Cassou, conservative of the Museum of Modern art. Exposing to Biennial, it leaves for Venice and spends a first summer to draw work the Pousseurs of corn close to Rome, in Filacciano. Coming regularly to Picasso, he works more and more in the South, source of new topics such the Pier , after a stay in 1959 with Picasso with Toulon. In 1960 Pinion signs against the Guerre of Algeria the “Manifeste of the 121”. First retrospective exposures of its work are organized to the museums of Metz and Luxembourg.

Beatings, Battles, Plungers and Warriors (1961-1970)

In 1961 Pinion develops the topic of the Battages in the plain of the the Tiber and the Pousseurs of corn (1961-1962): “The cockfights were prolonged in corn beatings in Italy. Beatings accentuated this kind of scattering of the involved elements. (…) Beating for me, it was all in all the multiplied combat of the cocks. (…) I was in full medium, in the dust of the straw, five hours of the morning at one o'clock in the afternoon, died of sun, and drawing at the speed of the men, devouring the added movements. (…) The peasants of Filacciano pushed with a several corn mound with forks, while running. I always had the impression, when I saw them running and that I collected their foolish movement with my Indian ink, that they charged an enemy with the bayonet.”

The topic evolves/moves thus quickly in Harvest-war (1961-1963) and Batailles (1963-1964): “I walked one day in Sanary, and I saw in a window a whole army of plastic soldiers. (…) It was for the majority of the extremely exact copies of the armours of the Moyen-âge or the Renaissance. (…) And while returning to the workshop, I put myself to draw them. (…) I bought also guns and tanks, military trucks. I was useful myself little about it, but their presence among all the knights in armor gave to the battle a kind of general information. (…) I had even found a means of making move my warriors. Several times, with the luminous jet of a large flashlight, that I agitated in front of my soldiers laid out in front of a white wall, I gave them not only the life but the capacity to fight. (…) But that was rather a splendid play that a need. (…) There was, in the tearing of the form, a curious continuity between the cockfights, corn beatings and the battles. (…) In the Batailles the trampling of the warriors does not cease having a relationship with the trampling of the corn pushers. (…) It is our cockfight to us. ” known as still Pinion

In parallel Pignon takes for topic the wave (1962): “On the basis of the cockfights, then beatings, I went towards something of more imperceptible still. I put myself to interest me in the waves of the sea, more fluids even as the dust of corn or the straw which whirled, more difficult still to seize like rate/rhythm. (…) When there was mistral, I was accustomed to go to draw waves (…). I saw water inflating, to strike the rock, the port, cliff, to precipitate upwards like a kind of flower, to suspend a large tablecloth of sea, and to fall down. (…) There are nothing more enthralling than to try to collect the wave in its movement. (…) When I begin the fabric, I start from drawings more or less quickly made according to nature, or watercolours, or colored pencils. (…) On the fabric, I try to seize a reality infinitely more complex than in the drawings. The drawings are fragments of reality. For example in the studies of waves which I have make with the colored pencil, I accumulated fragments of reality: whereas the table expresses the waves in their totality”

Pinion continues the topic in the plungers , according to sketches of Sanary (1962-1966): “The Every day I was going to take notes, to look at the plungers. (…) The idea to paint plungers did not come to me by chance. It was born after multiple achievements (…) and at a certain moment of my painting where again I need a direct contact, constant with reality to be able to build one day the fabrics (…). It is this implementation of the reality in its various accumulated moments which will make the fabric more alive, more expressive, truer. (…) I also realized that this swiftness of notation removed me from all the practices of thoughts, of all the ideas which came to interpose between my drawing and me. (…) I seized the plunger not like instantaneous, but in his development”

In its turn this series leads it, looking at the discussions in the coffees and films of war, with its Têtes of warriors (1964-1967): “After all these bodies moving precipitated in water, I wanted to go towards the expression of the human figure and to seek this movement, but inside the human face. (…) Moreover my wasn't Oliviers portraits of olive-trees? My Cockfights of the portraits of cock, almost already of the heads of warriors? (…) I wanted to express the bestiality of the warrior, the fear of the warrior, his burlesque side, always present at this very often stupid man and without brain. Its malicious side also. ”

A new retrospective of the work of Pinion is presented to the National museum of modern art of Paris in 1966. In the continuity of its preceding topics, it approaches then the series of the Seigneurs of the war (1967-1969), named according to an expression of his friend Camille Bourniquel: “I had the desire to give more and more presence to these heads. I placed them in the top of the fabric which, itself, was very lengthened and very narrow. (…) The definite forms were to the top, while to the bottom them remained indefinite. ” (D.C., p. 33). In parallel Pinion, continuing its engagements, will expose in many demonstrations against the Guerre of Vietnam, the dictatorship in Greece or with the Chile, the Apartheid and the maintenance of the Portuguese colonies. In 1968 it paints at the time of the “International Congress of the Intellectuals” a fresco in the entry of the Museum of Havana, works with the preparation, in particular with Bazaine, Alexander Calder, Jean Cassou, Vercors, of the “International Day of the Intellectuals for Vietnam” and takes part in the creation of a collective poster with Picasso, Manessier, Matta, Soulages, André Masson, Paul Rebeyrolle and Victor Vasarely. The same Pignon year supports the studied movement, creating with Bazaine and Calder posters for ORTF in strike.

Naked reds, the Blue ones of the sea, ladies of the summer (1970-1993)

After having begun again the topic of the Man to the child deadened (1970-71), Pinion in cost with that of naked, rather by chance according to a model with Sanary, initially Naked white then Naked reds , but so orange, (1973-1976), which fill whole space of its fabrics: “I was brought gradually to remove all the signs inside the Nus , i.e. the affirmed centres, the marked belly or the marked fingers. All the interior signs, as those which grouillaient for example in the heads of warriors, disappeared. The naked one is nothing any more but one great form épanchée on all the fabric. (…) Thereafter volume became initially pink and gradually the naked ones evolved to a red form. Soon, of the naked white, it does not remain any more that one kind of irregular white ring.”

Pinion carries out simultaneously monumental ceramics-sculptures, Twentieth century , 50 meters length on 10 height in 5000 pieces, for the Arts center of Argenteuil (1970), a “Cockfight” for the Faculty of Science of Lille (1971), of the Plongeurs for the School of the Art schools of Marseilles - Luminy (1973). It conceives into 1973 the decorations, including one immense figure in bottom of scene, for “Hamlet” assembled by Marcel Maréchal in Marseilles. The varnishing day before of its exposure the Naked reds , it receives a last telephone call of Picasso which dies shortly after. A retrospective of monumental works of Pinion is organized in Romania, Hungary, Poland, Luxembourg. He collaborates in 1974 in a collection of homage to Fellini, with which he binds friendship.

On the beach of Coudoulière , close to Toulon, Pignon realizes into 1975 of many drawings that it will develop in the large characters of the Bleus of the sea (1978-1981): “When I paint parasols, I do not want to make a triangle of color. This triangle of color often épanche in the yellow which is with side and this yellow or this red is become broader, more expressive, becomes spot. What remains to me parasols, it is the structured side, the general form, almost of the hexagons. I accentuate this side, mixes it with the close parasol, I give this complication, which one finds on the beach, of all these parasols which intermingle (…) It is the mixture of all these elements, the characters lengthened, upright, the presence of the sea, the parasols, the objects, the buckets of the children, etc, all these objects and all these people who interpenetrate which will give me the presence, the richness and the complexity of the beach. ”

In 1976 Pinion exposes the naked reds and after to the Museum of Modern art of the Town of Paris, present for the last time its works at the Gallery of France and receives the national Grand Prix of the Town of Paris. It simultaneously continues to carry out monumental ceramics, the Summer for Creusot (1975), Cockfight for Saint-Etienne-of-Rouvray the (1976), the Man with the child ordered by Pierre Mauroy for Lille and Cockfight for Marles-the-Mines (1977). Pinion takes part then in all the exposures organized in support for the dissidents imprisoned in the USSR and the opponents of Czechoslovakia.

Its painting renews thereafter in new series certain of its old topics, Nus with the cacti (1978-1982) which oppose to the aggressive and thorny character cactus and the undulatory and flexible shape of the woman, green Nageurs , Nus reds with the woman knelt , Repiquage of the jasmine (1981). With the Center Georges-Pompidou an exposure joins together in 1980 the near total of its works preserved in the National museums. For the training center of Telecommunications of the Londe-the-Moors Pignon makes out of ceramics on concrete cut out the Plungers in the wave (1980) and a stamp reproducing its “Plungers” is published by the Post office in 1981. The same year it leaves the Communist party. The series the Men of the ground (1981-1984) and the electricians of High voltage (1982-84) begin again under a plastic new approach of the made studies with Vallauris and Sanary in the Années 1950. The museum of Antibes requiring in 1982 to thirteen painters and sculptors a homage to Picasso, Pignon carries out a series of watercolours and five fabrics under the title For Picasso, its characters and mine with go of Antibes .

To the Bleu of the sea it gives, in the accumulation of the bodies, parasols, swimmers and boats, the solar continuation of its Dames of the summer or Dames of the sun (1983-1984). After a vast retrospective exposure in 1985 of three hundreds of its works on three stages of the Large palace, it paints the ultimate series of the Nus giants (1986-1989). Reached of a progressive blindness, Edouard Pignon dies in the Seam-Boussey (the Eure) the May 14th 1993.

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