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Enrico BajComposition, Société internationale d'art XXe siècle1962
1962
$995
£743.22
€861.64
CA$1,381.53
A$1,548.52
CHF 806.27
MX$18,908.09
NOK 10,236.69
SEK 9,703.46
DKK 6,428.78
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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, XXIV Année N°20, Noël 1962, Cahiers d'art créés en 1938 par G. di San Lazzaro, 1962. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Mourlot Frères, Paris, 1962. 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.
ENRICO BAJ (1924-2003) was an Italian artist and writer on art. Many of his works show an obsession with nuclear war. He created prints, and sculptures but especially collage. He was close to the surrealist and dada movements, and was later associated with CoBrA. As an author, he has been described as a leading promoter of the avant-garde. He worked with Umberto Eco among other collaborators. He had a long interest in the pseudo-philosophy 'pataphysics. He made numerous works using motifs from other artists, from Leonardo da Vinci to Picasso. Sometimes he recreated entire works of other painters.
- Creator:Enrico Baj (1924-2003, Italian)
- Creation Year:1962
- 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: LU1465216587562
Enrico Baj
Enrico Baj, born in Milan on October 31, 1924 and died in Vergiate on June 16, 2003, was an Italian painter, libertarian anarcho-pataphysician. In 1950, with the painter Sergio Dangelo, he founded the Nuclear Movement (or Movimento Arte Nucleare), considered the Italian equivalent of the CoBrA movement. In 1953, he approached the painter Asger Jorn with the aim of founding the International Movement for an imaginist Bauhaus and organized the International Ceramic Meetings of Albisola, in which the painters Matta and Roland Giguère took part. From 1955, he composed his paintings with the most heterogeneous elements such as pieces of glass, skeins of wool, mattress canvas, watch dials. That same year, with the writer Édouard Jaguer, he created the Italian magazine Il gesto. After meeting Mesens in London, Marcel Duchamp and Arturo Schwarz in New York, he met André Breton in Paris in 1962. From 1965, he began a series of collages representing ladies: Dame Ninette de Valois, 1974 and Generals in ceremonial costumes overloaded with decorations: Lieutenant John Talbot, First Earl of Shrewsbury.
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