Amidst the rich correspondence he held with his contemporaries, four artistic personalities stand out. Steven-Paul Robert, who lived between Paris and Switzerland, was a childhood friend and confidante, to whose image he fashioned his project as a man of letters. René Auberjonois was an authority figure, someone who was able to find a path after Hodler, in the wake of Cézanne, and whom Roud defended when his painting at the Abbey du Dézaley in 1935 was contested for its anatomical deformations of the feminine nude. His quarter-of-a-century-long dialogue with Gérard de Palézieux, begun in 1951, was enriched by their exchange of poetry and graphic works. Jean Lecoultre, a young poet fascinated by surrealism, contacted the “Master” in 1946. In 1959, in his preface to Dix pochoir, Roud evoked the mystery of the artistic vocation, experienced, thirty years earlier, in his exchanges with his friend Robert.

Gustave Roud, René Auberjonois devant un potager, Jorat, 9.8.1943, Fonds photographique Gustave Roud, BCU/Lausanne.