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Bram Van VeldeComposition, Derrière le miroir1952
1952
About the Item
Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 43, 1952. Published by Aimé Maeght, Éditeur, Paris; printed by Éditions Pierre à Feu, Galerie Maeght, Paris, 1952. 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.
BRAM VAN VELDE (1895-1981) was a Dutch painter known for an intensely colored and geometric semi-representational painting style related to Tachisme, and Lyrical Abstraction. He is often seen as member of the School of Paris but his work resides somewhere between expressionism and surrealism, and evolved in the 1960s into an expressive abstract art. His paintings from the 1950s are similar to the contemporary work of Matisse, Picasso and the abstract expressionist Adolph Gottlieb. He was championed by a number of French-speaking writers, including Samuel Beckett and the poet André du Bouchet.
- Creator:Bram Van Velde (1895 - 1981, Dutch)
- Creation Year:1952
- Dimensions:Height: 15 in (38.1 cm)Width: 11 in (27.94 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Auburn Hills, MI
- Reference Number:1stDibs: LU1465216420272
Bram Van Velde
Bram van Velde is a Dutch painter born October 19, 1895 in Zoeterwoude, near Leiden Netherlands). He entered in 1907 as an apprentice in a painting and interior decoration company in The Hague, he is encouraged in his art by Eduard H. Kramers and his son Wijnand, collectors and amateurs sensitive to his talent. In 1922, Kramers encouraged van Velde to travel, perhaps to improve himself and pay him a small income. The latter goes to Munich, then settles north of Bremen, Worpswede, where since the 1890s there is a colony of expressionist artists. He leaves Worpswede to settle in Paris. His career took off, and in February 1927 he went to Bremen to exhibit his works. He followed in April on the Jury-Freie Kunstschau of Berlin, and is admitted, along with his brother Geer, to the Salon des Independants in Paris. It was in 1939 that the artist created his own plastic language, with the first of three great gouaches that would establish the autonomy of his art. He stopped painting in 1941, he "no longer has the strength to continue his work," according to what he wrote around 1945, only to resume in the autumn of 1945. In 1958 Franz Meyer organized the first museum exhibition at the Kunsthalle Bern. Since 1961, the pace of exhibitions is accelerating, its standard of living suffers. Van Velde oscillates between Paris and Geneva, where he began painting before settling there in 1967. France named him Knight of the Order of Arts and Letters in 1964, Holland awarded him the Order of Orange-Nassau in 1969. In 1973, he painted in La Chapelle-sur-Carouge some great gouaches who are like a last "wild" display of color in his work. He died on December 28, 1981 in Grimaud and is buried in the cemetery of Arles.
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