Pierre Alechinsky
Lino Litho BR, Planche VI
1970

Name: Lino Litho BR, Planche VI
Brand: Pierre Alechinsky
Price: 805.85 CHF
Availability: InStock
Rating: 5 (98 reviews)

About the Item

Lino Litho BR, Planche VI Linocut and lithograph, 1970 Signed lower right in pencil (see photo) Edition: 99 (56/99) (see photo) Published by London Arts Group, Detroit Condition: Excellent Image size: 15 x 21 1/2 inches Note: The recipient of the Andrew Mellon Prize in 1977, Alechinsky is represented in the collections of sixty-five of the world's leading museums Pierre Alechinsky B. 1927, BRUSSELS Born on October 19, 1927, in Brussels, Pierre Alechinsky grew up with varied artistic interests that included graphic techniques, folk art, and medieval book illustrations. From 1944 to 1948 he studied art at the École nationale supérieure d'architecture et des arts décoratifs (La cambre), Brussels. Alechinsky joined the group Jeune Peinture Belge (also known as Jonge Belgische Schilderkunst, young Belgian painters, 1945–48) and had his first solo exhibition in the Galerie Lou Cosyn, Brussels, in 1947. During a stay in Paris in 1948, he was deeply impressed by the work of Jean Dubuffet and Max Ernst, feeling particularly drawn to the former's Art Brut. In March 1949, Alechinsky visited an exhibition featuring artists from the Cobra group (1948–51) at the Séminaire des arts, an experience that would have a lasting effect. Formed by painters from Copenhagen, Brussels, and Amsterdam, the movement distinguished itself through bold, expressive compositions inspired by folk and children's art, as well as by the work of Paul Klee and Joan Miró. From 1949 to 1951, Alechinsky devoted himself so intensely to Cobra—organizing exhibitions and running the group's eponymous magazine (eight issues, 1949–51)—that he produced little work of his own. His distinctive use of script as a means of pictorial expression came out of his exposure to Cobra artists such as Karel Appel and Asger Jorn, and in 1951 he moved to Paris to study engraving. While there, he discovered an interest in Asian calligraphy. He traveled to Japan in 1955 and the following year made Calligraphie japonaise, a film about Japanese calligraphers. Fascinated by the way they placed paper on the floor and bent over, using their entire bodies to make their works, Alechinsky adopted the method. Around 1958, his subject matter became more fantastic in nature, and he began using brightly colored acrylics to render comically deformed creatures that often communicate via speech bubbles. The creatures recall Hieronymus Bosch, Pieter Brueghel, and James Ensor—Flemish painters that Alechinsky admires and to whom he sometimes pays homage in his paintings. Since the mid-1960s, Alechinsky has worked primarily on paper. He has returned to his roots as a student in Brussels in his later work that refers to medieval pictorial illustration. From 1983 to 1987 he was a professor of painting at the École nationale supérieure des beaux-arts, Paris. His work has been included in group exhibitions at the Institute of Contemporary Arts, London (1958); Venice Biennale (1960, 1972); Pittsburgh International (now Carnegie International, 1961, 1977); São Paulo Biennial (1963, 1989); and Guggenheim Museum (2009), among other venues. He has received numerous international solo exhibitions at institutions as diverse as the Palais des beaux-arts, Brussels (1955, 1969); Stedelijk Museum, Amsterdam (1963); Museum of Fine Arts, Houston (1967); Musée national d'art moderne Centre Georges Pompidou, Paris (1975, 2004); Guggenheim Museum (1987); Taipei Fine Arts Museum (1992); and Jeu de Paume, Paris (1998, 2003). Museés royaux de beaux-arts de Belgique, Brussels, mounted a major retrospective in 2007. Alechinsky lives and works in Paris. Courtesy: Gugenheim

Creator:

Pierre Alechinsky (1927, Belgian)

Creation Year:

1970

Dimensions:

Height: 15 in (38.1 cm)Width: 21.5 in (54.61 cm)

Medium:

Linocut

Movement & Style:

Abstract

Period:

1970-1979

Condition:

Gallery Location:

Fairlawn, OH

Reference Number:

Materials

Intaglio

Bernard Childs
B.B., 1960

$800

Tempus Fidgets

Located in Fairlawn, OH

Tempus Fidgets Etching, 1952 Signed in pencil lower right (see photo) Titled in pencil lower left (see photo) During his military service, Gilkey was part of the "Monuments Men" art recovery team The title is a play on Tempus fugit is a Latin phrase, usually translated into English as "time flies". The expression comes from line 284 of book 3 of Vergil's Georgics, where is appears as FVGIT INREPARABILE TEMPVS: "it escapes, irretrievable time". Condition: Excellent Image/Plate size: 11 3/4 x 14 5/8 inches Sheet size: 15 3/4 x 20 9/16 Reference: Portland Art Museum, 82.80.642 Gordon Waverly Gilkey was a printmaker, teacher, collector, and curator. He graduated from Albany College, which is now Lewis & Clark College, in 1933 and obtained a Master of Fine Arts degree from the University of Oregon in 1936. He served in World War II in a special division dedicated to locating and returning art confiscated by the Nazis and to confiscating Nazi propaganda. Gilkey spent the majority of his career teaching printmaking at Oregon State University. He amassed a large collection of prints, primarily by trading work with his colleagues. When he retired in 1978, Gilkey became curator of prints and drawings at the Portland Art Museum and professor and printmaker in residence at the Museum Art School, which is now known as the Pacific Northwest College of Art. Over the course of many years, he donated more than 10,000 prints and drawings from his personal collection to the Museum. Gilkey was crucial in building awareness for and appreciation of works on paper, and was instrumental in creating proper storage and viewing spaces for the graphic arts. In 1993, the Vivian and Gordon Gilkey...

Category

1950s Abstract Abstract Prints

Materials

Etching

Artist: Alberto Magnelli, Italian (1888 - 1971) Title: IV from La Magnanerie de la Ferrage Year: 1971 Medium: Linocut on Japon, signed in pencil Edition: Pour Leon Amiel Image Size: ...

Category