In his abstract paintings, Ténurb-Géneau, like the painters of the "Lyrical Abstraction" of the 1950s (Mathieu, ZAO Wou Ki, Chu Tey Chun, Hartung, etc.), favours the balance of forms, the "value" and the harmony of colours in compositions where the sweep of his brushes sometimes animates the movement of the whole.

Sometimes deviating from lyrical abstraction towards a more classical representation, the painter Tenurb-Geneau likes to imagine compositions like these, where landscapes take the liberty of merging with abstraction. A form of encounter that the Franco-Chinese painter Chu Tey Chun used to call "abstract landscapes". Without forgetting that the painter Turner took so many liberties with classical figuration in his time, particularly in his seascapes, that he can be described as the precursor of lyrical abstraction.

In his figurative work, as in his abstract painting, the painter Géneau favours the composition of the picture. In his "still lifes" the arrangement of the elements, shapes and colours, is harmoniously arranged. The composition of the painting, whether pyramidal, asymmetrical, horizontal or vertical, is rigorous and always balances values and colours. Light is taken into account and often benefits from the contrast of the background. When it is a landscape background, the painter blurs it to give it more depth. Géneau's paintings have been the subject of more than 100 "personal" exhibitions over the last 50 years (Europe, USA, Japan, China). The peony, the Chinese national flower, symbol of power, feminine beauty and generosity, is often present in the painter's compositions, and has made the success of his exhibitions in galleries and museums in China.

Sometimes deviating from lyrical abstraction towards a more classical representation, the painter Tenurb-Geneau likes to imagine compositions like this one, where landscapes take the liberty of merging with abstraction. A form of encounter that the Franco-Chinese painter Chu Tey Chun used to call "abstract landscaping". Without forgetting that the painter Turner took so many liberties with classical figuration in his time, particularly in his seascapes, that he can be described as the precursor of lyrical abstraction. In this "blue collection" this colour is dominant for the subject of the painting, as well as for the general atmosphere of the composition.

The painter Tenurb Géneau belongs to the category of "lyrical abstract painters" whose leaders were, from the 1950s and following Kandinsky whose leaders were, from the 1950s and following Kandinsky: Mathieu, Soulages, Hartung and others, for the Europeans, or Zao Wou-ki for the Asians... Tenurb-Géneau was very attracted at that time by pictorial creation and, out of a need for eclecticism studied both figurative composition and abstraction. In this last field, he In the latter field, he endeavoured to perfect his work by taking care, in an aesthetic concern (are not the paintings intended to embellish our (aren't paintings meant to embellish our environment?) to the balance of his compositions: in the form of the in the form of the lines as well as in the "value" and harmonisation of the colours. Often with a zone of convergence of the planes, more coloured and supposed to balance the whole painting ... A gesture in the use of his brushes is often at the origin of the movement, in airy compositions that avoid the overflow of "bad painting".