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Joan Gardy Artigas
Sans titre, Hommage à Aimé et Marguerite Maeght, Derrière le miroir
1982

Name: Sans titre, Hommage à Aimé et Marguerite Maeght, Derrière le miroir
Brand: Joan Gardy Artigas
Price: 594.25 CHF
Availability: InStock
Rating: 4.9 (67 reviews)

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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. JOAN GARDY ARTIGAS (1938) is a Spanish ceramist and sculptor. He and his likewise ceramist father were close collaborators with Joan Miró. Artigas was born on 18 June 1938 in Boulogne-Billancourt (near Paris) and his father was Josep Llorens Artigas who worked closely with Miró and Pablo Picasso. Artigas was able to work for Miró, whilst still a teenager, because of his father's relationship with Miró. Artigas trained at the Ecole des Beaux Arts in Paris where he met the Swiss sculptor Alberto Giacometti. Artigas established his own studio where at Giacometti's suggestion he concentrated on sculpture. Artigas had some success and supplied his expertise to the cubists Georges Braque and Marc Chagall. When Artigas created the 7,200 tiles for the Miró Wall he coloured the tiles based on an image which Miró had created. Using that scale model, he marked out each section on an individual 20 by 36 centimetres (7.9 in × 14.2 in) tile. The artwork includes the signatures of both artists. Artigas' signature is dated 1979. Artigas was later called to return to assisting Miró when his father decided to retire. His father had worked with Miró for twenty years creating large murals including examples for UNESCO, IBM and the Palacio de Exposiciones y Congresos in Madrid. Artigas worked with Miró on, Dona i Ocell, one of his last large works which was covered in broken tiles by Artigas. In this case the tiles remind the viewer of Gaudi's work. In 1982 Antoni Tàpies won the Gold Medal of Catalonia for a mosaic in the Plaça de Catalunya in Sant Boi de Llobregat. Artigas had constructed the ceramics for this prize winning exhibit. Artigas continued his own art and he was awarded his first solo exhibition in America in 1982. He has been a visiting artist at two American universities and he has founded a foundation to celebrate his father's work. Gardy-Artigas serves on the board of the foundation Fundació Joan Miró in Barcelona.

Creator:
Joan Gardy Artigas (1949, French)
Creation Year:
1982
Dimensions:
Height: 15 in (38.1 cm)Width: 11 in (27.94 cm)
Medium:
Lithograph
Movement & Style:
Pop Art
Period:
1980-1989
Condition:
Gallery Location:
Southampton, NY
Reference Number:
1stDibs: LU1465216701232

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Sans titre, Hommage à Aimé et Marguerite Maeght, Derrière le miroir

Located in Southampton, NY

Lithograph 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,...

Category

1980s Modern Abstract Prints

Materials

Lithograph

Located in Roma, IT

Composition is an original screen print realized by the artist Luigi Boille in 1971. It is in excellent condition. signed just below the image. The artwork is depicted through har...

Category

1970s Abstract Abstract Prints

Materials

Screen

Luigi Boille
Composition - Screen Print by Luigi Boille - 1971, 1971

$372

Joan Gardy ArtigasSans titre, Hommage à Aimé et Marguerite Maeght, Derrière le miroir1982

About the Item