La Jeune Peinture put Man at the centre of its concerns. To this end, it chose an Expressionist manner, tempered and respectful of its subject, unlike the violent tormented vision of Slavic and German Expressionism.

The drawing had a key role in organising the texture in rigorous respect for Nature. Thus, the works of La Jeune Peinture were structured to be close to reality. Unctuous paste fleshed out the painting, the vector of its humanity, while the colours used were often limited to a range of ochre, black and earthy green, since these painters wished to evacuate all ornamental character from their works. They went straight to the essential.

They responded to barbarous colours with hues that conducive to meditation and silence. Their painting was grave without sadness, profound and humane.

La Jeune Peinture also sought to create large paintings. After years of scarcity, these young painters expressed themselves in sizeable formats as illustrated by the seven square metres of revolt in Bernard Lorjou’s La Peste en Beauce. Power, youth, affirmation of humankind shaped the main characteristics of this movement to give us all a lesson in life through a form of Expressionism derived from the Age of Enlightenment.