Shortly after World War II, amongst the group «Les Mains Eblouies» of the new Maeght Gallery, (« The Dazzling Hands »), he belonged to the second generation of abstract painters of the Ecole de Paris, showing a lot of gestural impetuosity and colorful fantaisy.
In his «shepherd period» in the Massif Central, in the center of France, he began a robust dialogue with the forces nature, which he translated into powerful rhythms and a deadened register of colours.
After tying up again with Paris, without losing contact with the wide open skies of the Lozère, and after a new evolution had made him borrow the freshness of Pop Art lively colours that he applied to «sign-forms» assemblies full of humour for a while, he soon returned to fat thickenings of earthy shades exacerbated to the reds which he had got from his intimate contact with the roughness of the glebe of Auvergne.
However, since he had the opportunity to stay in Venice, around the end of the 1980s, a city he fell in love with (anyway, between Denise and Venice -Venise, in French - there it is only one letter that differs !), his painting, which had been abstract at times only, has kept returning to his remembrances of the water-city which had enraptured him ; mostly to the gondoliers’ folklore, the churches, the palazzi and museums , combining the impulsing appearances of rhythms and colours of his former abstraction with the imaginary Venice which haunted him.
As Florence Vercier puts it : «…That radiant Venice is as imaginary-abstract as the ancient canevas inhabited by formless splashes ; and then as real, because recording and transmitting emotions and vague recollections… lines attack the palazzi and twirl in a spinning space… and, in a same mixing, horses and baroque facades and human beings take part in that blaze of joy.».