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Pierre Alechinsky
Quatre arrondissements (Charron/Cotensin 417), Derrière le miroir
1982

Name: Quatre arrondissements (Charron/Cotensin 417), Derrière le miroir
Brand: Pierre Alechinsky
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About the Item

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Alechinsky, Pierre, et al. Pierre Alechinsky: The Complete Books: A Reasonable Catalogue. Ceuleers & Van de Velde Booksellers, 2002, illustration 417. 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. PIERRE ALECHINSKY (1927) is a Belgian artist. He has lived and worked in France since 1951. His work is related to tachisme, abstract expressionism, and lyrical abstraction. In 1949, he joined Christian Dotremont, Karel Appel, Constant, Jan Nieuwenhuys, and Asger Jorn to form the art group COBRA. He participated both with the COBRA exhibitions and went to Paris to study engraving at Atelier 17 under the guidance of Stanley William Hayter in 1951. In 1954, he had his first exhibition in Paris and started to become interested in Chinese and Japanese calligraphy. In the early 1950s he was the Paris correspondent for the Japanese journal Bokubi (the Beauty of Ink) published by Morita Shiryu of the Bokujinkai group. In 1955, encouraged by Henri Storck and Luc de Heusch, he left for Japan with his wife. He exhibited Night, 1952 (Ohara Museum of Art, Kurashiki) and made a film: Japanese Calligraphy – Christian Dotremont would write the commentary with music by André Souris. By 1960, he had exhibited in London, Bern, and at the Venice Biennial, and then in Pittsburgh, New York City, Amsterdam, and Silkeborg as his international reputation grew. He worked with Walasse Ting and continued to be close to Christian Dotremont. He also developed links with André Breton. His international career continued throughout the seventies and by 1983 he became Professor of painting at the École nationale supérieure des Beaux-Arts, Paris. For the season 2018/2019 at the Vienna State Opera Pierre Alechinsky designed the large-scale picture (176 sqm) Loin d'ici as part of the exhibition series Safety Curtain, conceived by museum in progress. In 2018, Pierre Alechinsky’s painting, Mur d'oiseaux, sold for $1,601,105 USD at Christie's Paris, setting a world record for the artist.

Creator:

Pierre Alechinsky (1927, Belgian)

Creation Year:

1982

Dimensions:

Height: 15 in (38.1 cm)Width: 22 in (55.88 cm)

Medium:

Lithograph

Movement & Style:

Modern

Period:

1980-1989

Condition:

Gallery Location:

Auburn Hills, MI

Reference Number:

1stDibs: LU1465216701552

By Henry Moore

Located in New York, NY

One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from t...

Category

Late 20th Century Modern Landscape Prints

Materials

Lithograph

Henry Moore
Bridge: abstract black drawing based on Auden poetry and Yorkshire landscape, 1973

$960

Pierre AlechinskyQuatre arrondissements (Charron/Cotensin 417), Derrière le miroir1982

About the Item