Beaudry left the engineering profession to handle materials such as beeswax, damar gum, chalk, rabbit skin glue, carborundum, required by his attraction towards specific painting techniques: encaustic, tempera, pastel and watercolour.
Nevertheless, driven by the circumstances, during the realization of his portraits, landscapes and still lifes, penetrated by the thought of Picasso as expressed in the writing of his merchant and friend Kahnweiler he discovered their position firmly against abstraction. A few years later, he fell on the book ABSTRACTION and EINFÜHLUNG written by a contemporary of Kahnweiler : Wilhelm Worringer. In this writing contested by Kahnweiler, the Egyptian pyramid, the pediment of a Greek temple and the Gothic cathedral are only different results of transformations coming from a single source: abstraction. With Kahnweiler, abstraction is decoration, with Worringer, abstraction led to a great style. The antinomy could not be more direct.
This conflict, which has never been resolved, was to capture his mind for several years affecting his artist path, which can be consulted by clicking here, and led him to discover the author, twenty years later, Aloïs Riegl and relaunch his research.