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Jacques MonorySans titre, Hommage à Aimé et Marguerite Maeght, Derrière le miroir1982
1982
$716
$89520% Off
£549.86
£687.3220% Off
€630.13
€787.6620% Off
CA$1,007.95
CA$1,259.9420% Off
A$1,129.13
A$1,411.4120% Off
CHF 587.29
CHF 734.1120% Off
MX$13,773.03
MX$17,216.2920% Off
NOK 7,476.94
NOK 9,346.1820% Off
SEK 7,050.22
SEK 8,812.7820% Off
DKK 4,703.11
DKK 5,878.8920% Off
About the Item
Silkscreen on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. 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.
JACQUES MONORY (1924-2018) was a French painter and filmmaker whose work, highly influenced by photography and cinema, is an allegory of the contemporary world with a focus on the violence of everyday reality. His canvases evoke a heavy atmosphere, pulling subject matter from modern civilization through the lens of his signature monochrome color blue. Monory was first exhibited at the Drouant-David Gallery in Paris in 1952. During the 1960s, he became one of the leading figures of the European movement of Pop Art, called Narrative Figuration by the art critic Gérald Gassiot-Talabot. Monory would say: “What has developed in France has moved away from American Pop Art, we have expressed a critical narrative of society while the Americans have almost always, in my opinion, embraced their system. This is a fundamental difference.”
In 1968, he directed the influential film Ex- and painted the series Les Meurtres (Murders), putting in place the elements that would characterize his work: the division into sequences, the distancing by the use of the blue color, the dream, the illusion, but also a critical look at society. In 1971, Pierre Gaudibert curated a solo exhibition, Monory Catalogue 1968- 1971 at the Modern Art Museum of Paris which heightened his visibility, making him instantly recognizable. Two trips to the United States in 1969 and 1973 were vitally important to his personal and artistic history; it constitutes, from photos, a repertory of forms, images, and notebooks of models. In 1974, he joined the legendary gallery of Aimé Maeght, where he would exhibit, including his Operas Glacés (Frozen Operas). In 1986, he exhibited at the 42nd Venice Biennale, and in 1992, he was the featured artist of the French Pavilion at the World Expo in Seville. In 2005, his work inaugurated the MACVAL in France with Detour, a large spiral installation of his paintings. In 2008, Monory was highlighted in the retrospective exhibition Figuration Narrative, at the Grand Palais in Paris. In 2015, a solo retrospective, Jacques Monory, took place at the Helene & Edouard Leclerc Fund for Culture in Landerneau, France. His work is included in the permanent collections of Pompidou Center, Paris, France; The Museum of Modern Art, Paris, France; Museum of Modern Art and Contemporary Art, Geneva, Switzerland; Museum of Modern Art, Fukoka, Japan; the Maeght Foundation, Saint-Paul de Vence, France; National Museum of Fine Arts, Havana Cuba; the Leeum, Samsung Museum of Art, Seoul, South Korea; the Ludwig Museum, Cologne, Germany; the Museum of Solidarity Salvador Allende, Santiago, Chile; the Stedelijk Museum, Amsterdam, Holland; and the Museum Colecção Berardo, Lisbon, Portugal. In 2013, Jacques Monory‘s artwork, 14 Juillet Prive, sold for $166,926 USD at Versailles Enchères Perrin-Royère-Lajeunesse, setting a world record for the artist.
- Creator:Jacques Monory (1934, French)
- Creation Year:1982
- Dimensions:Height: 15 in (38.1 cm)Width: 22 in (55.88 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Southampton, NY
- Reference Number:1stDibs: LU1465216701692
Jacques Monory
French artist Jacques Monory, one of the leaders of the narrative figuration movement. Having trained at the École des Arts Appliqués in Paris, Jacques Monory quickly developed a passion for photography, which he integrated into his art, namely with his famous monochrome blue backgrounds.
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