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Alfred Manessier
Le Nid, Petite tache noire n°1, Société internationale d'art XXe siècle
1960

Name: Le Nid, Petite tache noire n°1, Société internationale d'art XXe siècle
Brand: Alfred Manessier
Price: 1410.2 AUD
Availability: InStock
Rating: 4.9 (68 reviews)

About the Item

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXIIe Année, N° 15, Noël 1960, Cahiers d'Art publiés sous la direction de Gualtieri di San Lazzaro, 1960. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Mourlot Frères, Paris, 1960. Additional notes: Excerpted from the academic article, “Promoting Original Prints, The Role of Gualtieri di San Lazzaro and XXe Siècle” by Valerie Holman, published in Print Quarterly, XXXIII, 2016, 2, Until recently very little has been written on the Italian author and art publisher Gualtieri di San Lazzaro (1904-75), yet for 50 years he chronicled the life and work of contemporary artists, produced monographs of exceptional quality, and disseminated original prints by modern painters and sculptors through his best-known periodical, XXe Siècle. Although still a relatively unfamiliar figure in the United Kingdom, San Lazzaro is one of the half-dozen great art publishers of the mid-twentieth century who, together with his exemplar, Ambroise Vollard (1866-1939), and those of his own generation, Christian Zervos (1889-1970), Tériade (1889-1983) and Albert Skira (1904-73), chose to base himself in Paris, seeing it throughout his life as the centre of the art world….XXe Siècle, an illustrated periodical, was launched in 1938 and printed in editions of approximately 2,000, each issue containing both photographs and four-colour separation reproductions across a wide spectrum of visual imagery ranging from masterpieces of Western painting to popular prints from the Far East. Its large format, lively design, and close integration of text and image, were immediately striking, but its most innovative feature, introduced at the suggestion of Hans Arp (1886-1966), was the inclusion of original prints by contemporary artists in every issue. With obvious appeal for collectors, XXe Siècle was also designed to introduce a wider, international public to contemporary painting and sculpture through good quality colour reproductions and the immediacy of original prints. Comparable in price to Cahiers d'Art, early issues of XXe Siècle sold out rapidly. While San Lazzaro's own aesthetic preferences tended towards lyric abstraction, he made clear that XXe Siècle was non-partisan [publication ceased during World War II]….in 1951, San Lazzaro relaunched XXe Siècle with thematic issues that were materials based, or centred on a topic of current interest in the visual arts, particularly in Europe: concepts of space, matter, monochrome, mark-making and the sign.' A defining feature of the new series was Italy's artistic dialogue with France for, while San Laz-zaro had originally concentrated on Paris-based painters and sculptors, his aim was to create an international network, to make known the work of French artists in Italy and Italian artists in France, and subsequently extend this bilateral axis to the English-speak-ing world. The artists represented in No. I by an original print were all best known as sculptors: Arp, Laurens, Henry Moore (1898-186) and Marino Marini, San Lazzaro not only sought to show readers the full range of an artist's work, but to encourage the production of prints, a stimulus much appreciated, for example, by Magnelli…. Suffering from failing health, in 1968 San Lazzaro lost overall control of XXe Siècle to Léon Amiel, a printer-publisher who had provided financial backing and helped with distribution in America." Thematic issues now ceased and were replaced by a 'panorama' of the year, but San Lazzaro was still active as a publisher of books and albums of prints….Shortly after his death, San Lazzaro himself was the subject of two exhibitions: 'Omaggio a XXe Siècle' in Milan in December 1974 centred on graphic work by those artists closest to him late in life, while 'San Laz-zaro et ses Amis' at the Musée d'Art Moderne de la Ville de Paris in 1975 featured work by all those whose work he had promoted for more than 50 years: Arp, Calder (1898-1976), Capogrossi, Chagall, Sonia Delau-nay, Dubuffet, Estève, Lucio Fontana (1899-1968), Gili-oli (1911-77), Magnelli, Marini, Miró, Moore and Poliakoff. This exhibition was seen by one of his closest colleagues as an indirect portrait of San Lazzaro, a complex man whose modesty and reserve masked his unremitting drive to extend international appreciation of contemporary art, and to bring the reading public closer to its making through the medium of print. ALFRED MANESSIER (1911-1993) was a non-figurative French painter, stained glass artist, and tapestry designer, part of the new School of Paris and the Salon de Mai. Finding inspiration in the natural surroundings of his native region, Manessier began to paint landscapes at an early age. For his formal education, he studied architecture, first in Amiens and then as an architecture student at the École des beaux-arts, Paris, in 1929. Manessier disliked the school’s formal atmosphere and preferred to copy paintings at the Louvre—particularly those by old masters such as Rembrandt van Rijn, Peter Paul Rubens, and Tintoretto—and frequent the ateliers of Montparnasse. He also briefly studied in 1935 at the Académie Ranson under Roger Bissière, who introduced Manessier to fresco technique, and leading up to World War II, his paintings began to reflect both Cubist and Surrealist influences. In 1939 Manessier was drafted into military service. In the postwar period, Manessier was associated with Lyrical Abstraction (Abstraction lyrique) and Art Informel. However, his work also adhered to a more specific strand of French art that appeared during the German occupation and incorporated Christian themes and symbolism into semiabstract compositions. The Catholic painter, Jean Bazaine, a strong proponent of art sacré (sacred art), included Manessier’s work in the famous Vingt jeunes peintres de tradition française (Twenty young painters of the French tradition, 1941) organized at Galerie Braun, Paris, in defiance of the Nazis. In 1943, Manessier experienced a religious awakening during a three-day retreat to a Trappist monastery. Soon after he converted to Roman Catholicism and began to pursue an increasingly ascetic lifestyle. In 1945 his compositions started to recall stained-glass windows and turned more abstract, although figurative elements connected to religion and landscape continued to appear. His paintings allude to religious meanings through their titles and through combinations of discernible symbols and abstract imagery. While Manessier initially gained international recognition for his paintings, he was fluent in a variety of mediums, including lithography, as well as designs for tapestries, liturgical objects, and vestments. At the urging of Georges Rouault, Manessier began to work on stained glass in 1948 and completed many pieces for churches in France, Germany, Spain, and Switzerland. Beginning in 1956, religious symbolism and political themes coexist in a number of works responding to various political events such as the Suez Crisis, invasion of Hungary, and assassination of Martin Luther King Jr. In the 1960s Manessier made several trips to Spain, where he was influenced by the works of El Greco and Francisco de Goya, as well as to Canada, the Netherlands, and the South of France, where the natural landscapes—a persistent theme throughout his oeuvre—influenced the content and style of his work at the time. In 2007, Alfred Manessier‘s painting, Turris Davidica, sold for $593,217 USD at Cornette de Saint Cyr Paris, setting a world record for the artist.

Creator:

Alfred Manessier (1911 - 1993, French)

Creation Year:

1960

Dimensions:

Height: 12.4 in (31.5 cm)Width: 9.65 in (24.52 cm)

Medium:

Lithograph

Movement & Style:

Modern

Period:

1960-1969

Condition:

Gallery Location:

Auburn Hills, MI

Reference Number:

1stDibs: LU1465216495532

By Henry Moore

Located in New York, NY

This darkly-shaded portrait of two figures is one of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist lower right in pencil; numbered lower left in pencil. Printed in inky black, Thin-lipped Armourer features two figures subsumed in crosshatched shadow. The figure on the left can barely be seen, and the hollows of his eyes recall a skull. Numerous Moore prints from this series include two heads, perhaps relating to the first lines of Auden’s poem Lullaby. Lullaby was the first poem Moore read for this project, which begins: “Lay your sleeping head, my love / Human on my faithless arm; / Time and fevers burn away Individual beauty from / Thoughtful children, and the grave / Proves the child ephemeral: / But in my arms till break of day / Let the living creature lie, / Mortal, guilty, but to me / The entirely beautiful.” This print evinces Moore’s fascination with light and dark – what he called a “…bias towards the blackness and mysterious depths.” Moore was inspired by the prints of Rembrandt and the drawings of Seurat, and even drew on his memories of viewing the Altamira cave paintings, recalling how some of the images used the shadow of candlelight on the rough surface of the rock to model light. Shortly before starting work on this series of lithographs, Moore had fallen ill, leaving him aware of his own mortality. His mood pervaded these prints with a sense of danger and foreboding. The Auden/Moore limited edition book and portfolio were exhibited on publication at the British Museum, London, with an accompanying catalogue. Thin-lipped Armourer I is one of a group of lithographs...

Category

Late 20th Century Modern Abstract Prints

Materials

Lithograph

Henry Moore
Thin-lipped Armourer I: W. H. Auden poetry with Henry Moore, Yorkshire landscape, 1973

$1,200

Alfred Manessier
Le Nid, Petite tache noire n°1, Société internationale d'art XXe siècle
1960

About the Item