Thirties and Forties

Towards the end of 1930, Bores discovered the light of Provence thanks to a sojourn in Grasse. "I felt captivated by the light, by the fruit, by the women in that region and I started to paint landscapes and figures again, trying to restore the extraordinary brightness of the world to my paintings. Thus, I recovered the lesson of the impressionists", wrote the artist about this movement in a stage he referred to as "paint-fruit". Bores returns to painting landscapes and figures, trying to restore in his works the extraordinary brightness of the world. From 1934 he started a long period that lasted for over fifteen years, which meant his return to interior scenes. The Thirties were a moment of diversity and search, but also of discoveries for Bores, maybe the most heterogeneous time of his career. He turned to a more familiar topic full of calm and balance in which the intimist dimension made him choose an atmosphere of delicate lyricism, without losing sensuality. Never before had his work focused on sceneries of his intimate, familiar and daily life.

At the end of the Forties and the beginning of the Fifties a stylistic change took place, which Bores referred to as "the white manner". In it light flooded the canvasses in an ocean of clarity, tuning his colour scheme in subtle hints and refining his sense of composition even further. The succulence of the shapes and the joy of colour were the most visible aspects of his work. The higher or lesser grounding in reality had no real importance since the limits of realism and abstraction in Bores were never strict and always personal. It seemed like a way to close the cycle of his career, of resuming problems he had already considered upon his arrival to Paris. The monochromatic variant fluctuates among whites, ochres, blues and different hues of green. They are still lifes full of puppies, flower vases or fruit bowls with a marked evocative sense. Bores simplifies the expressive resources to an extreme and favours a higher degree of plasticity, whereas the chromatic value contrast is able to create a sense of spatiality.