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Pol Bury
Ramollissement de Mondrian, Derrière le miroir
1982

Name: Ramollissement de Mondrian, Derrière le miroir
Brand: Pol Bury
Price: 1390.77 AUD
Availability: InStock
Rating: 4.9 (68 reviews)

$895

£679.47

€777.17

CA$1,250.44

A$1,390.77

CHF 726.22

MX$16,924.16

NOK 9,274.88

SEK 8,698.20

DKK 5,800.30

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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. 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. POL BURY (1922-2005) was a Belgian sculptor who began his artistic career as a painter in the Jeune Peintre Belge and COBRA groups. After attending the Académie des Beaux-Arts in Mons in 1938–39, he joined a group of Surrealist poets that included Achille Chavée. Bury’s early artistic endeavors suggest the influence of René Magritte and Yves Tanguy, and paintings he produced in the late 1930s and first half of the ’40s were included in the 1945 Exposition Internationale du Surréalisme held in Brussels. The focus of Bury’s art shifted in 1952 after he visited an exhibition featuring Alexander Calder’s work. The movement of Calder’s mobiles captivated Bury, and he began producing sculptures with moving components. These early kinetic sculptures were exhibited in the 1955 group exhibition Le Mouvement at Galerie Denise René in Paris. The exhibition proved particularly influential for the international ZERO network (active in the late 1950s and early ’60s), and Bury went on to participate in ZERO exhibitions and contribute to Heinz Mack and Otto Piene’s ZERO journal. Bury began to include electric motors in many of his sculptures in 1957. The concealed motors activate the works, prompting elements to twist, tilt, or spin. Around 1964, the artist started creating his Cinetizations: photographs and prints depicting well-known monuments, but with the architectural structure fundamentally altered. In a Cinetization featuring the Eiffel Tower, the iron structure appears to wobble as if on the brink of collapse. Bury’s sculptures and Cinetizations both demonstrate moments of physical contingency that belie gravity’s certain pull. In a 1969 interview, the artist explained: “I am searching for the point which exists between the moving and the non-moving.”² In the late 1960s, Bury began working with stainless and Cor-Ten steel, polished brass, and copper. By 1969 he had created his first public fountain, at the University of Iowa Museum of Art. Similar in many ways to his kinetic sculptures, the numerous fountains that Bury designed throughout his lifetime involve arrangements of cylinders and spheres that move slowly and irregularly. In these works, he embraced the reflections and light effects produced by the interaction of metal and water in the open air. In the late 1950s and early ’60s, Bury exhibited his work alongside that of other ZERO artists in Vision in Motion—Motion in Vision at Antwerp’s Hessenhuis (1959); Bewogen Beweging (Moving Movement, 1961), which traveled from Amsterdam’s Stedelijk Museum to the Moderna Museet, Stockholm, and the Louisiana Museum, Humlebæk, Denmark; tentoonstelling nul (known as Nul 62) and nul negentienhonderd vijf en zestig (Nul 65), both at Amsterdam’s Stedelijk Museum (1962 and 1965, respectively); and Documenta 3 (1964) in Kassel, Germany. Retrospectives featuring the artist’s work have been organized by the University Art Museum, University of California, Berkeley, in collaboration with the Solomon R. Guggenheim Museum, New York (1970); Museo de Arte Moderno in Mexico City (1977–78); Musée d’art moderne de la Ville de Paris (1982); and Josef Albers Museum in Bottrop, Germany (1990). In 2017, Pol Bury's artwork, Fontaine, sold for $288,143 USD, at Cornette de Saint Cyr, setting a world record for the artist.

Creator:

Pol Bury (1922 - 2005, Belgian)

Creation Year:

1982

Dimensions:

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

Medium:

Lithograph

Movement & Style:

Pop Art

Period:

1980-1989

Condition:

Gallery Location:

Auburn Hills, MI

Reference Number:

1stDibs: LU1465216701452

$895

Bury, Cinétisation, Derrière le miroir (after)

By Pol Bury

Located in Auburn Hills, MI

Lithograph and cinétisation on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 191, 1971. Published by Aimé Maeght, É...

Category

1970s Pop Art Landscape Prints

Materials

Lithograph

Located in Surfside, FL

Allan D'Arcangelo (American/New York, 1930-1998), "Aspen Center of Contemporary Art", 1967 silkscreen, hand signed in pencil, dated, numbered "45/200" and blind stamped "Chiron Press, New York, NY" 32 in. x 24 in. Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy. D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery...

Category

1960s Pop Art Abstract Prints

Materials

Lithograph, Screen

Allan D'Arcangelo
Pop Art Aspen Road Sign D'arcangelo Silkscreen Chiron Press Vintage Art Poster, 1967

$1,500

Pol BuryRamollissement de Mondrian, Derrière le miroir1982

About the Item

Pol Bury

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