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Antoni Tàpies
Composition (Galfetti/Homs 898), Derrière le miroir
1982

Name: Composition (Galfetti/Homs 898), Derrière le miroir
Brand: Antoni Tàpies
Price: 726.22 CHF
Availability: InStock
Rating: 4.9 (68 reviews)

$895

£679.47

€777.17

CA$1,250.44

A$1,390.77

CHF 726.22

MX$16,924.16

NOK 9,274.88

SEK 8,698.20

DKK 5,800.30

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About the Item

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Galfetti, Mariuccia, and Núria Homs. Tàpies Das Grafische Werk; 1979 - 1986, Illustrated by Antoni Tàpies, Erker-Verl, 2002, illustration 898. Notes: From the folio, Derrière le miroir, N° 250, Hommage à Aimé et Marguerite Maeght, 1982. Published by Galerie Maeght S.A., Paris; printed by l'Imprimerie moderne du Lion, Paris, 1963. Excerpted from the folio (translated from French), This special issue of Derrière le miroir was designed and defined by Aimé Maeght in the fall of 1980. He envisioned its publication as a celebration with which artists and writers published since 1946 were to be associated. He also chose François Chapon, president of the Reverdy Committee, to write the presentation. This Derrière le miroir number 250 took the form, after its disappearance on September 5, 198I, of a tribute to Aimé Maeght and his wife Marguerite Maeght who died four years earlier. XXIV artists agreed to create an original graphic work for this issue which includes the general table of all issues as well as excerpts from texts by XXXII writers. Finished printing on June 2, 1982 on the presses of the l'Imprimerie moderne du Lion in Paris. CL examples were printed on Arches vellum, numbered from I to CL, and some non-commercial examples constituting the original edition. Additional notes: Excerpted from a Christie’s, New York lot essay, The life span of Derrière le Miroir was thirty-five years. Publication began in 1946. Aimé Maeght, initiator of Derrière le Miroir, had already made few attempts to start publications illustrated with fine printed lithographs in colours in the years prior to the launch of Derrière le Miroir. The name, Derrière le Miroir was suggested by Jacques Kober, manager of Galerie Maeght. The gallery had opened in 1945; the first number of Derrière le Miroir was released a year later. For this first issue Geer van Velde was invited to create lithographs to illustrate the publication. The lithographs in the first issue was printed by Mourlot, Paris. The first three issues of Derrière le Miroir were unsuccessful for Maeght as far as the edition size—the initial print-runs were far too large. From 30,000 for the first issue, the number was taken down to 10,000 for numbers two and three, until Derrière le Miroir number four was published in an edition of 1500. Maeght instituted a policy whereby unsold issues were recycled and used for the fabrication of new paper for the coming editions—this served to both conserve resources and also usually result in ultimate edition sizes far less than 1,500. With number four, the permanent format for Derrière le Miroir was established. Lithographs in colours were key; text was limited to comments on the featuring artist's exhibition taking place in the Galerie Maeght, and this catalogue format was defining to Derrière le Miroir. Galerie Maeght took on the leading role in Paris and presented all main artists including Braque, Matisse, Chagall, Léger, Bonnard, Chillida and many more. So too did Derrière le Miroir. The idea of a magazine was meanwhile still on the mind of Aimé Maeght. He found an insert as a solution. Two, and later four, pages of art review were inserted from 1952 onwards. In 1968 this find had ripened to independency and the dream of Aimé Maeght was now a tangible fact named l'Art vivant. Derrière le Miroir was on it's own again. Over 250 issues in a row. At that point publisher Aimé Maeght wished to make a mark with the publication of an hommage to all who once contributed to the magazine which came in the form of issue number 250, but was delayed by the death of Aimé Maeght. It was published after number 253 in 1982 and became a tribute to Aimé and Marguérite Maeght and 35 years of friendship with artists and poets. The era of Derrière le Miroir was closed with that final publication. ANTONI TAPIES, 1st Marquess of Tàpies (1923-2012) was a Catalan painter, sculptor, and art theorist. From the 1940s, Antoni Tàpies developed a strong visual language through a wide range of sources that coalesce into a complex fusion of materials, gestures, and symbols. Co-founder of the magazine Dau al Set in 1948, and influenced by Miró and Klee, he became increasingly interested in iconographic and magical subjects. He gradually began to incorporate geometrical elements and colour studies leading to an interest in matter through the use of heavily textured canvases of great expressive and communicative possibilities. Tàpies achieved international recognition by the mid-1950s. In the 1960s, he began incorporating new iconographic elements (writing, signs, anthropomorphic elements, footprints and references to the Catalan situation), and new technical methods (new surfaces, use of everyday objects and varnish). Tàpies’ pictorial language has continued to develop ever since, resulting in a creative and productive body of work in painting, sculpture, and assemblage, that is admired throughout the world. Important solo exhibitions include retrospectives at the Solomon R. Guggenheim Museum, New York (1962 and 1995); Musée d’Art Moderne de la Ville de Paris (1973); Nationalgalerie, Berlin (1974); Albright-Knox Art Gallery, Buffalo, New York, which later traveled to Chicago, San Antonio, Iowa, and Montreal (1977); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1990). In 1990 he was awarded with Premio Príncipe de Asturias de las Artes, followed by the Praemium Imperiale Award from Japan. Tàpies has participated in three Venice Biennale exhibitions (1952, 1954, 1958) prior to being selected to represent Spain at the 45th Venice Biennale in 1993, during which he won the Award Golden Lion. In 2010-2011 he was the subject of 'Secret Scribbles' at the Contemporary Arts Center in Cincinnati, and in 2013 of a series of major museum surveys: 'Contra Tàpies' and 'Tàpies: Des de l’interior' at the Fundació Antoni Tàpies, the latter in collaboration with MNAC Museu Nacional d’Art de Catalunya; 'TÀPIES: The eye of the artist', Palazzo Fortuny, Venice coinciding with the Venice Biennale; and 'Antoni Tàpies: From Object to Sculpture, 1964– 2009', Guggenheim Museum Bilbao, Spain. His work is included in numerous public and private collections internationally including Tate Galleries, UK; The Museum of Modern Art, New York; Galleria Nazionale d’Arte Moderna, Rome; Le Centre Pompidou, Paris; Stedelijk Museum, Amsterdam; and the Museum of Contemporary Art, Los Angeles. In 2014, Antoni Tàpies’ painting, Gran ocra amb incisions, sold for $2,829,590 USD at Christie's in London, setting a world record for the artist.

Creator:

Antoni Tàpies (1923 - 2012, Spanish)

Creation Year:

1982

Dimensions:

Height: 15 in (38.1 cm)Width: 22 in (55.88 cm)

Medium:

Lithograph

Movement & Style:

Modern

Period:

1980-1989

Condition:

Gallery Location:

Auburn Hills, MI

Reference Number:

1stDibs: LU1465216701622

By Henry Moore

Located in New York, NY

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 t...

Category

Late 20th Century Modern Landscape Prints

Materials

Lithograph

Henry Moore
Bridge: abstract black drawing based on Auden poetry and Yorkshire landscape, 1973

$960

Antoni TàpiesComposition (Galfetti/Homs 898), Derrière le miroir1982

About the Item

Antoni Tàpies

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