It was with the Avignon master Pierre Grivolas rather than at the Ecole des Beaux-Arts in Marseille where he had studied under Dominique Magaud from the age of thirteen, that the young Seyssaud's artistic personality was affirmed. Although he drew his inspiration from his Provençal roots, he soon disengaged himself from the representation of local customs and mores favored by his master to anchor his work in the land itself. He became a landscape painter.
As early as 1885, he participated in the Salon des Indépendants and it was Le Barc de Boutteville, who was the first to devote a private exhibition to him in his Parisian gallery in 1897. Two years later, Seyssaud was favored by Ambroise Vollard and his particular exhibition was a success with art lovers. An exhibition at the Bernheim-Jeune gallery in 1901 crowned this Parisian trilogy.
Seyssaud also began an ongoing collaboration with the cabinetmaker and decorator Eugène Printz. However, these forays into the galleries of the capital were not to be continued as Seyssaud remained faithful to François Honnorat, a merchant from Marseilles with whom he associated in order to improve his material condition on a lasting basis.
With his fragile lung health, the urban environment made the painter uncomfortable and it was as much by obligation as by choice that he moved to the country, to an isolated farm. There he married a peasant woman from the Vaucluse region. Living with her and her family in Villes-sur-Auzon (Vaucluse) and in Saint-Chamas (Bouches-du-Rhône), he deepened his knowledge of the peasant condition, of the calendar of work in the fields, of its harshness.
Seyssaud's work is attached to nature in its vastness and fullness: the earth, the sky, everything they support and cover, including man since he is also the fruit. In his peasant compositions, the strength of color echoes the forces at work, those of nature, of the seasons; men are one with the earth from which they draw the benefits they need through their work.
In February 2015, the first monograph of the artist written by Claude-Jeanne Bonnici was published, meeting the expectations of a growing number of enthusiasts seduced by the power of this painting and eager for a study of this magnitude to finally be devoted to it.