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Claude GaracheComposition, Hommage à Aimé et Marguerite Maeght, Derrière le miroir1982
1982
$716
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£543.68
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€621.73
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CA$1,000.36
CA$1,250.4420% Off
A$1,112.61
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MX$13,539.33
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NOK 7,419.91
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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° 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.
CLAUDE GARACHE (1929-2023) is a French artist. He has worked in painting, sculpture, illustration and engraving. His principal subject is the female nude. Much of his work uses a single colour on a monochrome background, very often blood-red on white. Garache was born in Paris on 20 January 1929. Between 1949 and 1959, he studied sculpture and drawing under the sculptor Robert Coutin. He spent time in the studios of Andre Lhote and Fernand Léger, and also visited Alberto Giacometti and worked in the sculpture studio of the École nationale supérieure des Beaux-Arts. He travelled frequently in the 1950s, in Europe and to the Middle East and the United States. In 1955, he worked as an artistic advisor to Vincente Minnelli during the filming of Lust for Life, his biography of Vincent van Gogh. Garache later made sculptures for L'Année dernière à Marienbad (1961), directed by Alain Resnais.
- Creator:Claude Garache (1929, French)
- Creation Year:1982
- 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: LU1465216700972
Claude Garache
Claude Garache is a French artist. He was born in Paris on 20 January in 1930. Between 1949–59, he studied sculpture and drawing under the sculptor Robert Coutin. He spent time in the studios of Andre Lhote and Fernand Léger and also visited Alberto Giacometti and worked in the sculpture studio of the École Nationale Supérieure des Beaux-Arts. He traveled frequently in the 1950s, in Europe and to the Middle East and the United States. In 1955, he worked as an artistic advisor to Vincente Minnelli during the filming of Lust for Life, his biography of Vincent van Gogh.
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