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Pierre Tal-Coat(tariff free*) Oiseau et son ombre, Derrière le miroir1964
1964
$716
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£541.86
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€622.35
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CA$1,272.7320% Off
A$1,103.92
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About the Item
Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Derrière le miroir, L'Hommage à Georges Braque, N° 144-145-146, 1964. Published by Aimé Maeght, Éditeur, Paris; printed by les ateliers de Maeght Éditeur, Levallois, May 13, 1964. Excerpted from the folio (translated from French), It was taken from this special issue of "Behind the Mirror", CCCL examples on vélin de Rives, numbered, which constitute the original edition of L'Hommage à Georges Braque. These head examples also include an gravure à l'eau-forte based on the "Trois oiseaux sur fond violet". The lithographs of this issue were drawn in les ateliers de Maeght Éditeur, in Levallois. The texts were printed on the presses of Fequet et Baudier, typographers. Finished printing on May 13, 1964. 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.
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PIERRE TAL-COAT (1905-1985) was a French artist considered to be one of the founders of Tachisme. Arriving in Paris in 1924, Tal-Coat modelled for the Académie de la Grande Chaumiere, was a moulder at the Manufacture de Sèvres and met with the painter Émile Compard. In 1925 and 1926 he fulfilled his military service in Paris in the cuirassiers. He met Auguste Fabre and Henri Bénézit and exhibited in their gallery under the name of Tal-Coat (Wood Face in Breton) which he used all his life to avoid homonymy with the poet Max Jacob. Back in Paris in 1930, after a stay back home in Brittany from 1927 to 1929, he mixed with such notables as Francis Gruber, André Marchand, Gertrude Stein, Francis Picabia, Ernest Hemingway, Giacometti, Balthus, Artaud, Tzara and Paul-Émile Victor. From 1932 he was a member of the Forces Nouvelles group. In 1936, he protested against the Spanish Civil War with his “Massacres” series. He was conscripted into the army in 1939 at Saint-Germain-en-Laye and later Ermenonville and demobilized in 1940 in Montauban. Setting himself up in Aix-en-Provence, which had become the refuge of many artists, including André Marchand, Charles Albert Cingria and Cendrars, he participated in the exhibition "Twenty young painters of French tradition" organized by Jean Bazaine in 1941 and later exhibited at the Galerie de France in 1943. Returning to Paris in 1945, he participated in the first exhibition of the Salon de Mai. He returned the following year to Aix, staying at the Chateau Noir, where Cézanne stayed when painting at Tholonet and met André Masson, philosopher Henri Maldiney and the poet André du Bouchet who became his close friends. His paintings by now had become non-figurative.
Along with the artists of the new School of Paris, the Galerie de France (from 1943 to 1965), the Galerie Maeght (from 1954 to 1974), Benador (from 1970 to 1980), the HM gallery, the Clivage gallery and the Berthet-Aittouarès gallery all regularly exhibited his paintings. In 1956 six of his paintings were shown at the Venice Biennale with those of Jacques Villon and Bernard Buffet. In 1963 he collaborated alongside Joan Miró and Ubac in the creation of the Maeght foundation. He designed a wall mosaic for the entrance in 1968 and received the Grand Prix National des Arts. A large retrospective exhibition devoted to his work, was held at the Grand Palais in Paris in 1976. In 2007 Pierre Tal-Coat's painting, Massacre, sold for $60,855 USD at Christie's Paris, setting a world record for the artist.
- Creator:Pierre Tal-Coat (1905 - 1985, French)
- Creation Year:1964
- 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: LU1465216842942
Pierre Tal-Coat
Pierre Tal-Coat (1905–1985) was a French artist considered to be one of the founders of Tachisme, a French style of abstract painting popular in the 1940s and 1950s often considered to be the European equivalent to abstract expressionism. It was part of a larger postwar movement known as Art Informel, which abandoned geometric abstraction in favor of a more intuitive form of expression, similar to action painting. He was friends with such notables as Gertrude Stein, Ernest Hemingway, Giacometti, Balthus and Artaud. In 1963 he collaborated alongside Joan Miro and Ubac in the creation of the Maeght foundation.
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