Gard painted portraits of the actress Jeanne Fusier-Gir, of Sacha Guitry and of Sacha's ex-wife, the actress Lana Marconi. In 1946, Gard founded the art review "Apollo" (not to be confused with the English Apollo magazine), at first writing most of the articles and signing under his own name or a pseudonym. He started a crusade against abstract art and explained his own conception of art, whose only sensible criterion seemed to him to be to imitate nature. This work as writer and art restorer slowed down his painting work and his exhibitions at the Castet gallery, but it did not stop them completely. When Sacha Guitry died in 1957 he lost a friend, an admirer and a significant supporter. In 1960, the French State bought one of his paintings () ("Red Roses"). From that moment on, as soon as he could escape from his restoration workshop, he ran to take refuge in in the forests of L'Isle-Adam, Val-d'Oise, where he painted subjects as easy to conceive as they are hard to make: pond life, tricks of the light, the wind on leaves and sky, the changing seasons, etc. Three years before his death, he gave the proceeds from his workshop to his son, and wrote to him: "I had hoped that in the life of art that I had, I would meet some true art lover: I gave up this idea because I found only speculators or people who wanted vane family portraits. I concluded that your artistic sense is better than that of all these fake collectors." In his workshop on Rue Bourdonnais, where customers became increasingly rare, he continued to write all that he still had to say on art and life. He painted only two more paintings, the last one (), "The Red Géranium" a month before he died, on 12 November 1979, alone and destitute in his studio in the Quai des Grands-Augustins, where his final illness set in.  Gard's relatively discreet originality passed almost unnoticed in the thrusting times for art that he lived in. He remained distant from 20th century movements laying claim as the heirs of the impressionists, be it Paul Cézanne or Vincent van Gogh, and his art was deep and authentically attached to the French painters of the 19th century who had been able to get through the midst of official red tape and reconcile pictorial art with truth, freshness, and nature.