Guidi’s nudes were accomplished at the same time as the still lives during two periods: as for the gouache at the end of the 80s and those in ink or pencil at the end of the 90s.
Since several years Guidi had taken up painting again still lives and memories from our travels. So it was only natural that he went back to his years as a young, studious apprentice at the RATP studio: the nudes (see page13).
All during one summer (we only liked to travel off-season) all kinds of different friends were his model in our rural gardens of the Barn of Fillerval or in the high grass close to the house.
At the end of the 90ties he would draw nudes male and female with a pencil or lithographic pencil at the Petit Atelier de Clermont-de-l’Oise where he lived and worked for some time. It was here where he put the fininshing touch to his watercoloured inks, mixing materials with ochre powders for Roussillon (near Gordes in the Provence), a mixture that remain a secret.
Guidi’s nudes, either painted or drawed, are those of a sculpture with his steadiness in expressing the bends and volumes and with such sensuality, encouraging to touch even though it was a painting or drawing. However, Guidi did not consider his models sex objects, not for himself, nor for those who looked at his work and were inspired by the male or female models.As far as his male nudes are concerned, apart from the homosexual scene, these paintings are quite rare. Guidi knew to make these nudes natural, matter of fact. At the same time he admitted he preferred to paint or sculpt a woman because of the curves and the ‘full’ volumes.
Guidi hated the predominant slimness of today and like many other painter loved luscious women with a soft skin that absorbed the light better. He liked the sensuality of Rubens’ or Renoir’s nudes.
Hélène with long curly hair who sits with bended knees (watercoloured ink)