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Anna Eva Bergman
Composition, Société internationale d'art XXe siècle

1970

$716
$89520% Off
£536.51
£670.6420% Off
€628.95
€786.1820% Off
CA$1,002.75
CA$1,253.4420% Off
A$1,123.91
A$1,404.8920% Off
CHF 588.38
CHF 735.4820% Off
MX$13,868.43
MX$17,335.5420% Off
NOK 7,391.21
NOK 9,239.0120% Off
SEK 6,957.47
SEK 8,696.8420% Off
DKK 4,691.98
DKK 5,864.9720% Off
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About the Item

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXXII Année N° 35, Décembre 1970, Cahiers d'art créés en 1938 par G. di San Lazzaro, Panorama 70, 1970. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Mourlot Frères, Paris, 1970. 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. ANNA-EVA BERGMAN (1909-1987) was a Norwegian abstract expressionist artist. She was a modernist artist and part of the School of Paris. Her abstract paintings were often inspired by nature and based on abstracted motifs. Bergman was born in Stockholm, Sweden as the child of a Swedish father and a Norwegian mother. Her parents divorced shortly after her birth, and she moved with her mother to Norway. She attended the Norwegian National Academy of Fine Arts (1926–1928). In 1928, she accompanied her mother to Vienna and became a student at the Kunstgewerbeschule. In Paris she met the German abstract expressionist artist Hans Hartung (1904–1989). The two were married in 1929, and lived in Paris and in Germany, and later in Menorca. Problems along with Bergman's failing health led to the couple's divorce in 1939. Bergman returned to Norway and was married to factory owner Fridhjof Lange (1895–1988) from 1944 to 1952. She divorced Lange and in 1957 she was remarried to Hartung. The couple settled in Antibes, France in 1973. She died at Grasse, France. Bergman's first exhibition was at the Autumn Exhibition in Oslo during 1948. She later had exhibitions at Stockholm, Paris, Nuremberg and Hanover. Her work is included in the collection of the Musée national des beaux-arts du Québec. The Foundation Hartung Bergman (Fondation Hans Hartung et Anna-Eva Bergman) at Antibes maintains a public display of the works of Hans Hartung and Anna-Eva Bergman. In 2023 her work was included in the exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery in London. In 2023, Anna Eva Bergman‘s painting, N°8-1955 4 formes, sold for $353,769 USD at Artcurial, settling a world record for the artist.
  • Creator:
    Anna Eva Bergman
  • Creation Year:
    1970
  • Dimensions:
    Height: 12.4 in (31.5 cm)Width: 9.65 in (24.52 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Auburn Hills, MI
  • Reference Number:
    1stDibs: LU1465216527422

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