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Raymond extraordinarily captures the final years of traditional farming in the Bearn. Although his subjects range from the figurative, through still life and landscape to the abstract, he has a constant need to develop and experiment. Many periods can be identified from the varied and rich repertoire of his work showing mature talent and exploration. A deeply religious man, he was almost reclusive and fanatical about his creativity - characteristics which flow into his art, diaries, and poetry.
Information gathered, about influences through his life, indicate that masters from El Greco to Matisse and Picasso are noteworthy. However when challenged in the 80’s about his personality and recent research in artistic ability as exemplified by Van Gogh, he refuses to speak or communicate for three days, eventually replying on rising that he had always thought “He” was the true master.
This was not a life of privilege but of challenge. From both outside and inside he was obsessed by creativity. Elements from his deep faith were frequently reflected in subtle motifs. Prior to his death in 2004 he had been working until two days before on a woodland scene, sketched out on his easel in his bedroom. Next to this was his light-box and an outline for a monoprint of The Shepherd leading his flock through mountains..