On the occasion of the artist's exhibition at the Fondation Maeght, St. Paul (March 1973), Nice Matin observes 'A visionary expressionist painter, le Brocquy transforms his canvas into a matrix and man himself into a solitary being in perpetual formation. Simultaneously in life, in death. This Irish artist, now living in Carros with his wife, also a painter, exhibits sixty-four of his most recent works in the galleries of the Fondation Maeght, Saint Paul-de-Vence until April 8th. For those who have followed the evolution of le Brocquy's work, they marvellously demonstrate his mastering of influences absorbed by him; Spanish painting with its greys and whites, the influence of Bacon also in the precision of his draughtsmanship. But this exhibition above all reveals the originality of le Brocquy the solitary man, this painter of the interior world of feeling. When he is no longer inspired by mankind he works on that which lies beyond - a surrealist contemplating an orange, a lemon, an apple.' According to Dorothy Walker: 'These, again, consisted of single images, a single lemon, a single orange, almost sculptural in their intense concentration on the small tight isolated form, what Jacques Dupin called "a slow coagulation of space". Rilke's line comes to mind: "There is utter darkness in the inside of an apple"; one could say that Louis le Brocquy's art brings that darkness out into the light without disrupting the form of the fruit, while simultaneously conveying its inner presence and presenting the fruit as a distilled presence of vivid colour, drawing into itself its knot of "quidditas".' The Fondation Maeght will prove a stimulating working environment for the artist, particularly in the field of print-making where he produces seven colour etchings, including Lemon and No Lemon.