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Paul RebeyrollePaul Rebeyrolle, The Dance, from Derriere le Miroir, 19821982
1982
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£475.93
£679.9030% Off
€548.19
€783.1330% Off
CA$896.27
CA$1,280.3930% Off
A$982.97
A$1,404.2530% Off
CHF 506.96
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About the Item
This exquisite lithograph by Paul Rebeyrolle (1926–2005), titled La Danse (The Dance), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommage a Aime et Marguerite Maeght (Tribute to Aime and Marguerite Maeght). Published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Imprimerie Moderne du Lion, Paris, this composition exemplifies Rebeyrolle’s dynamic painterly energy and his synthesis of expressive gesture and social commentary. In La Danse (The Dance), Rebeyrolle channels rhythmic motion and emotional force through bold color and textured form, achieving a visual language that merges vitality, resistance, and grace.
Executed on velin paper, this lithograph measures 15 x 11 inches (38.1 x 27.9 cm). As issued, it is unsigned and unnumbered, consistent with the authorized publication format. The edition preserves Rebeyrolle’s painterly vigor and tactile immediacy, affirming his role as a leading figure in postwar French expressionism.
Artwork Details:
Artist: Paul Rebeyrolle (1926–2005)
Title: La Danse (The Dance), from Derriere le Miroir, No. 250, Hommage a Aime et Marguerite Maeght (Tribute to Aime and Marguerite Maeght), 1982
Medium: Lithograph on velin paper
Dimensions: 15 x 11 inches (38.1 x 27.9 cm)
Inscription: Unsigned and unnumbered, as issued
Date: 1982
Publisher: Maeght Editeur, Paris
Printer: Imprimerie Moderne du Lion, Paris
Condition: Well preserved, consistent with age and medium
Provenance: From the 1982 folio Derriere le Miroir, No. 250, published by Maeght Editeur, Paris
Notes:
Excerpted from the folio (translated from French), This special issue of Derriere le Miroir was designed and defined by Aime 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 Francois Chapon, president of the Reverdy Committee, to write the presentation. This Derriere le Miroir number 250 took the form, after its disappearance on September 5, 1981, of a tribute to Aime Maeght and his wife Marguerite Maeght who died four years earlier. 24 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 32 writers. Finished printing on June 2, 1982 on the presses of the l'Imprimerie moderne du Lion in Paris. CL examples were printed on velin d'Arches, numbered from I to CL, and some non-commercial examples constituting the original edition.
About the Publication:
Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, and Paul Rebeyrolle. Printed in the ateliers of Mourlot and Arte, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing.
About the Artist:
Paul Rebeyrolle (1926–2005) was a French painter and sculptor renowned for powerful, politically engaged figuration that fused raw materiality with lyrical color—an aesthetic forged after early postwar years in Paris and later celebrated at the Espace Paul Rebeyrolle in his native Eymoutiers. His canvases and assemblages confront injustice, nature, and the human condition, placing him in dialogue with the modern masters and market leaders collectors search for today—Pablo Picasso, Henri Matisse, Alexander Calder, Marc Chagall, Salvador Dali, Joan Miro, Georges Braque, Wassily Kandinsky, Marcel Duchamp, and Man Ray. Museums and critics have highlighted his major series from the 1960s–2000s for their physical intensity and relevance to current social themes. The highest price ever paid for a Rebeyrolle artwork at auction is approximately $136,537 USD, achieved in 2007 at Cornette de Saint Cyr, Paris, for Les Depouilles 1.
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- 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:Southampton, NY
- 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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