His initial scientific training in biology and medicine demonstrates a rigorous intellectual approach that he then transposes into his artistic approach. This academic foundation likely fuels his capacity for analysis and synthesis that characterizes his decorative style.
His regular participation in prestigious Parisian salons between 1911 and 1952 confirmed his recognition in official artistic circles. His exhibitions spanned more than forty years, testifying to a lasting career and a constant evolution of his style.
His pictorial style is distinguished by intertwined forms and simple motifs, revealing a personal synthesis of Cubist aesthetics. This geometric and stylized approach prepares his transition to the decorative arts, where he would particularly excel.
The turning point of 1922 marked his true aesthetic revolution. A Marseille exhibition inspired him to renew the art of carpet design by integrating exotic influences: oceanic, African, and pre-Columbian. This syncretic approach reveals an artist open to the cultures of the world, probably nourished by his Brazilian origins.
The creation of the Savigny-sur-Orge factory embodies his industrial vision of decorative art. This entrepreneurial initiative demonstrates his desire to democratize his creations while maintaining high standards of quality.
His recognition culminated at the 1925 International Exhibition, and his inclusion in the Répertoire du Goût Moderne (1928–1929) confirmed his status as a benchmark in the decorative arts. His influence extended beyond France, inspiring carpet designers in both France and England.
His legacy reveals a complete artist capable of combining pictorial research and decorative innovation, lastingly marking the evolution of 20th century applied arts through his cosmopolitan vision and technical mastery.
