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Delaunay, La fenêtre, n°2, Société internationale d'art XXe siècle (after)1957
1957
About the Item
Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N° 9 (double) Juin 1957, Cahiers d'Art publiés sous la direction de Gualtieri di San Lazzaro, 1957. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Atelier Jacomet, Paris, under the direction of Daniel Jacomet, Paris, 1957. 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.
ROBERT DELAUNAY (1885-1941) was a French artist of the School of Paris movement who, with his wife, Sonia Delaunay and others, co-founded the Orphism art movement, noted for its use of strong colours and geometric shapes. In 1902, after secondary education, he apprenticed in a studio for theater sets in Belleville. In 1903 he started painting and by 1904 was exhibiting. That year and in 1906 his work was shown at the Salon d’Automne and from 1904 until World War I at the Salon des Indépendants. Between 1905 and 1907 Delaunay became friendly with Henri Rousseau and Jean Metzinger and studied the color theories of Michel-Eugène Chevreul. During these years, he painted in a Neo-Impressionist manner; Paul Cézanne’s work also influenced Delaunay around this time. From 1907 to 1908 he served in the military in Laon, and upon returning to Paris he had contact with the Cubists. The period of 1909–10 saw the emergence of Delaunay’s personal style; he painted his first Eiffel Tower in 1909. In 1910 Delaunay married the painter Sonia Terk, who became his collaborator on many projects.
Delaunay’s participation in exhibitions in Germany and his association with advanced artists working there began in 1911, the year Vasily Kandinsky invited him to participate in the first Der Blaue Reiter (The Blue Rider) exhibition at Heinrich Thannhauser’s Moderne Galerie in Munich. At this time he became friendly with Guillaume Apollinaire, Albert Gleizes, and Henri Le Fauconnier. In 1912 Delaunay’s first solo show took place at the Galerie Barbazanges, Paris; and he began his Windows pictures. In 1913 Delaunay painted his Circular Form, or Disc, pictures. From 1914 to 1920 Delaunay lived in Spain and Portugal and became friends with Sergei Diaghilev, Leonide Massine, Diego Rivera, and Igor Stravinsky. He designed decor for the Ballets Russes in 1918. By 1920 he had returned to Paris, where in 1922 an exhibition of his work was held at Galerie Paul Guillaume. He began his second Eiffel Tower series in that same year. In 1924 he undertook his Runner paintings and in 1925 executed frescoes for the Palais de l’Ambassade de France at the Exposition internationale des arts décoratifs in Paris. In 1937 he was commissioned to decorate the Palais des Chemins de Fer and Palais de l’Air at the Paris World’s Fair. His last works were decorations for the sculpture hall of the Salon des Tuileries in 1938. In 2023, Robert Delaunay’s painting, Rythme circulaire, sold for $8,633,483 USD at Sotheby's London, setting a world record for the artist.
- Creation Year:1957
- Dimensions:Height: 12.4 in (31.5 cm)Width: 9.65 in (24.52 cm)
- Medium:
- Movement & Style:
- After:Robert Delaunay (1885-1941, French)
- Period:
- Condition:
- Gallery Location:Auburn Hills, MI
- Reference Number:1stDibs: LU1465216487492
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