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André Masson
Sans titre, Société internationale d'art XXe siècle

1972

$716
$89520% Off
£546.66
£683.3320% Off
€631.66
€789.5820% Off
CA$1,005.13
CA$1,256.4120% Off
A$1,120.32
A$1,400.4020% Off
CHF 587.79
CHF 734.7420% Off
MX$13,680.94
MX$17,101.1720% Off
NOK 7,442.75
NOK 9,303.4320% Off
SEK 7,034.53
SEK 8,793.1620% Off
DKK 4,714.38
DKK 5,892.9820% Off

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, XXXIVe Année, N°38, Juin 1972, Cahiers d'art créés en 1938 par G. di San Lazzaro, Panorama 72, 1972. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Mourlot Frères, Paris, 1972. 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. ANDRE MASSON (1896-1987) was a French Surrealist artist. He began his study of art at the age of eleven at the Académie Royale des Beaux-Arts in Brussels, under the guidance of Constant Montald, and later he studied in Paris. He fought for France during World War I and was seriously injured. His early works display an interest in cubism. He later became associated with surrealism, and he was one of the most enthusiastic employers of automatic drawing, making a number of automatic works in pen and ink. Masson experimented with altered states of consciousness with artists such as Antonin Artaud, Michel Leiris, Joan Miró, Georges Bataille, Jean Dubuffet and Georges Malkine, who were neighbors of his studio in Paris. From around 1926 he experimented by throwing sand and glue onto canvas and making oil paintings based around the shapes that formed. By the end of the 1920s, however, he was finding automatic drawing rather restricting, and he left the surrealist movement and turned instead to a more structured style, often producing works with a violent or erotic theme. In 1932 he married his lover Paule Vézelay, a British abstract artist living in Paris, whose work also inspired him. He was living in Tossa de Mar, a small fishing village on the Costa Brava, at the outbreak of the Spanish Civil War, which is reflected in a number of his paintings (he associated once more with the surrealists at the end of the 1930s). Under the German occupation of France during World War II, his work was condemned by the Nazis as degenerate. With the assistance of Varian Fry in Marseille, Masson escaped the Nazi regime on a ship to the French island of Martinique from where he went on to the United States. Upon arrival in New York City customs officials inspecting Masson's luggage found a cache of his erotic drawings. Living in New Preston, Connecticut, his work became an important influence on American abstract expressionists, such as Jackson Pollock. Following the war, he returned to France and settled in Aix-en-Provence where he painted a number of landscapes. Masson drew the cover of the first issue of Georges Bataille's review, Acéphale, in 1936, and participated in all its issues until 1939. His brother-in-law, the psychoanalyst Jacques Lacan, was the last private owner of Gustave Courbet's provocative painting L'Origine du monde (The Origin of the World); Lacan asked Masson to paint a surrealist variant. In 2010, André Masson's painting, Gradiva, sold for $3,125,485 USD at Sotheby's Paris, setting a world record for the artist.
  • Creator:
    André Masson (1896-1987, French)
  • Creation Year:
    1972
  • Dimensions:
    Height: 12.4 in (31.5 cm)Width: 9.65 in (24.52 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Southampton, NY
  • Reference Number:
    1stDibs: LU1465216527312

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