To honor Paul Belmondo means to honor France. Inhis extensive work the power of that good tradition is emphasized;this tradition forms the basis of France as one of the leadingcultural nations.
It was 1927--if I remember correctly--when we meteach other for the first time: Belmondo, the outgoing Frenchman, andI, the German, newly arrived in Paris still with the pain ofhomesickness in his heart. But what a miracle! Belmondo--only twoyears older than I--was among those who combined their interest inGerman culture and intellectual discussion about their neighboringcountry with an honest readiness to introduce me to the impressiveworld of ideas of the French artists. With an open heart I absorbedwhat was to be decisive for myself and my future work.
The good relationship to Paul Belmondo was so mucheasier to develop because we, over and beyond our intellectual views,were also possessed by a great zeal for work. Moreover, we had closefriends such as Charles Despiau whose esteemed pupil and good comradeBelmondo was.
What I especially value in Belmondo is theconsistent dedication to his work that has shown no let up since ourcommon decision to adopt the objective form. The magnificentexhibition, which was sponsored by the French state and ended inJanuary of 1977 in the Monnaie de Paris(Paris Mint), gave an insight into the masterly ability of Belmondo,beginning with the small, artistic medal right up to the monumentalsculpture.
Whoever knows Paul Belmondo will attest to thefact that his work is also a mirror of his soul and an expression ofthis man's personality. Belmondo is not an artist who looks fortemporary favor. His themes are carefully selected; hisrepresentations radiate the dignity of the human being: warmth,humility, humanitarianism.
Paul Belmondo, whom we honor as artist andfriend--what better thing could we wish for him from the bottom ofour hearts than man y more years of active work!
(1977)
Copyright 1996 PROMETHEUS