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Paul WunderlichFrau mit Brille und Blättern (Riediger 544), XXe siècle1977
1977
$716
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£535.73
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€621.75
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CA$996.94
CA$1,246.1820% Off
A$1,121.34
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CHF 581.61
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NOK 7,374.52
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About the Item
Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Wunderlich, Paul, et al. Paul Wunderlich: Das Malerische, Graphische Und Plastische Werk. Huber, 1988, illustration 544. Notes: From the album, XXe siècle, Nouvelle série, XXXIXe Année, N° 48, Juin 1977, Cahiers fondés en 1938 par Gualtieri di San Lazzaro et publies sous la direction d'Alain Jouffroy, Pierre Volboudt et Gilbert Lascault Rédacteur en chef: Alain Jouffroy, 1977. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Mourlot Frères, Paris, 1977. 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.
PAUL WUNDERLICH (1927-2010) was a German painter, sculptor and engraver born in Eberswalde. He studied at the Hamburg Academy of Fine Art where he worked as a drawing teacher after finishing his studies in 1951. That same year, he was entrusted with managing the academy’s print workshop, where he made prints for masters like Oskar Kokoschka and Emil Nolde. In 1960 Wunderlich moved to Paris, where he would live for three years working as a lithographer in the Deskjoberts workshop. After this period, the artist focused exclusively on his artistic career. The graphic nature of Wunderlich’s work stood out from the very start. In the early stage of his painting he used an Expressionist and Tachist style, but he soon abandoned this for exquisite brushstrokes, which is the same style that we see in his graphic work. His language evolved into meticulous figuration with hints of Expressionism and a style that lies within Surrealism (although some define it as Magical Realism). His works depict landscapes and female figures, mostly nudes exuding eroticism. There are also dreamlike elements, as well as timeless atmospheres full of mystery, distorted figures, and almost impossible perspectives. In his themes we see references to contemporary German history and the events that took place at the start of World War II, including sexuality, death, fantastic creatures and references to classical masters.
- Creator:Paul Wunderlich (1927, German)
- Creation Year:1977
- 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: LU1465216593062
Paul Wunderlich
Paul Wunderlich is a German artist well-known for his Surrealist paintings and erotic sculptures. He was one of the most important members of the Magic Realist circle of artists. While his earliest works represented scenes of oppressive history during World War II in Germany, he later found inspiration in Surrealist artworks with sexual references and fantastic floating forms. Wunderlich studied graphic art at the Landeskunstschule in Hamburg, where he became an art teacher. During that time, he learned printmaking techniques from artists like Emil Nolde and Oskar Kokoschka. Wunderlich also began experimenting with the free-form, Expressionist style of Tachisme, but then he focused on the figurative again. He lived between Hamburg and France until his death. Today, many of his works belong to the collections of the biggest international museums like the Museum of Modern Art in New York, La Bibliothèque nationale in Paris, and the British Museum in London.
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