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Paul RebeyrolleComposition, Hommage à Aimé et Marguerite Maeght, Derrière le miroir1982
1982
$716
$89520% Off
£543.68
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€621.73
€777.1720% Off
CA$1,000.36
CA$1,250.4420% Off
A$1,112.61
A$1,390.7720% Off
CHF 580.97
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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.
PAUL REBEYROLLE (1926-2005) was a French painter. Afflicted by bone tuberculosis in his childhood, he was forced to immobility and solitude, which allowed him to develop a strong observational ability. He studied in Limoges and then, barely 18 years old, went to Paris. For several years he explored painting in exhibitions, workshops and at the Louvre, but also with his contemporaries. Thus, he participated in numerous group exhibitions, especially those of "L'Homme-Témoin". His first solo exhibition took place in 1951 at the Drouant-David Gallery at a time when he had already joined the New Figuration movement. Throughout his life, Rebeyrolle limited himself in favor of artistic freedom. This commitment is reflected in his immense body of work, much of which can be described as "political", a revolt against injustice and oppression. The other part is mainly dedicated to nature, whose beauty for him is violent and untamable. His figurative style and the subjects he tackles without compromise earned him the friendship of philosophers Michel Foucault and Jean-Paul Sartre. The force of his paintings and sculptures can also be found in his prints. He mainly produced lithographs illustrating political texts for art books. At the age of 33, Paul Rebeyrolle was awarded First Prize at the first Paris Biennale; years later he was also awarded the Grand Prix de la Ville de Paris. His loyalty to Maeght in Paris enabled him to participate in exhibitions around the world. The Espace Paul Rebeyrolle, a museum dedicated to his works, was inaugurated in 1995 in his hometown of Eymoutiers. In 2007, Paul Rebeyrolle's painting, Les depouilles 1 (from Les évasions manquées), sold for $136,537 USD, at Cornette de Saint Cyr Paris, setting a world record for the artist.
- Creator:Paul Rebeyrolle (1926-2005, 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: LU1465216700922
Paul Rebeyrolle
Paul Rebeyrolle (1926 - 2005) was a French painter born in Eymoutiers, France. As a child he had tuberculosis of the bone, which caused for long periods of immobility. Later he studied in Limoges and joined the French Communist Party. He ultimately broke with the party because of events related to the Hungarian Revolution of 1956. His art is often concerned with landscapes, but is marked by violence and rage. His work is sometimes abstract, or near abstract, portraying imagined animals, body parts or partial human figures, and seems to be a combination of invention and observation, where emotion plays a front role. He received praise from Francois Pinault, Jean-Paul Sartre, Michel Foucault and others.
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