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Graham SutherlandComposition, Société internationale d'art XXe siècle1972
1972
$716
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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, XXXIVe Année, N°38, Juin 1972, Cahiers d'art créés en 1938 par G. di San Lazzaro, Panorama 72, 1972. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Mourlot Frères, Paris, 1972. 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.
GRAHAM SUTHERLAND, OM (1903-1980) was a prolific English artist. Notable for his paintings of abstract landscapes and for his portraits of public figures, Sutherland also worked in other media, including printmaking, tapestry and glass design. Printmaking, mostly of romantic landscapes, dominated Sutherland's work during the 1920s. He developed his art by working in watercolours before switching to using oil paints in the 1940s. A series of surreal oil paintings depicting the Pembrokeshire landscape secured his reputation as a leading British modern artist. He served as an official war artist in the Second World War, painting industrial scenes on the British home front. After the war, Sutherland embraced figurative painting, beginning with his 1946 work, The Crucifixion. Subsequent paintings combined religious symbolism with motifs from nature, such as thorns.
Such was Sutherland's standing in post-war Britain that he was commissioned to design the massive central tapestry for the new Coventry Cathedral, Christ in Glory in the Tetramorph. A number of portrait commissions in the 1950s proved highly controversial. Winston Churchill hated Sutherland's depiction of him and subsequently Lady Spencer-Churchill had the painting destroyed. During his career, Sutherland taught at a number of art colleges, notably at Chelsea School of Art and at Goldsmiths College, where he had been a student. In 1955, Sutherland and his wife purchased a property near Nice. Living abroad led to something of a decline in his status in Britain. However, a visit to Pembrokeshire in 1967, his first trip there in nearly twenty years, led to a creative renewal that went some way toward restoring his reputation as a leading British artist. On June 15, 2011, Graham Sutherland‘s painting, The Crucifixion, sold for $1,156,549 USD at Sotheby's London, setting a world record for the artist.
- Creator:Graham Sutherland (1903 - 1870, British)
- Creation Year:1972
- 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: LU1465216527342
Graham Sutherland
Graham Sutherland OM was a prolific English artist. Notable for his paintings of abstract landscapes and for his portraits of public figures, Sutherland also worked in other media, including printmaking, tapestry, and glass design. Printmaking, mostly of romantic landscapes, dominated Sutherland's work during the 1920s. He developed his art by working in watercolors before switching to using oil paints in the 1940s. A series of surreal oil paintings depicting the Pembrokeshire landscape secured his reputation as a leading British modern artist.
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