The visual arts occupy a central place in Gustave Roud’s oeuvre. They are embodied in a network of relationships with painters, sculptors, and contemporary engravers that he presents as an art critic in the Suisse-Romande press, beginning in 1920. Roud, imbued with a mild modernity, was opposed to naturalism and to art he considered "academic," represented by Eugène Burnand and Louis Rivier. His literary work was also informed by painting. It was, among others, through the historical landscapes of Poussin that he approached the Jorat. It was through Cézanne that he saw the works of Gérard de Palézieux, but also how he composed his own photographic still life works. In Seurat, in 1948, he saw shadow and light, but especially, “the valorization of a fragment of the universe that he meant to represent.” Roud’s approach to art accompanied his own poetic project.

Gustave Roud, Photographie de la Belle du Dézaley d'Auberjonois.