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Roger Bissière
Poême pour Georges Braque, L'Hommage à Georges Braque, Derrière le miroir

1964

$895
£675.81
€784.08
CA$1,257.76
A$1,401.32
CHF 731.55
MX$17,013.87
NOK 9,195.16
SEK 8,691.66
DKK 5,853.03

About the Item

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Signed in the plate and unnumbered, as issued, with poem (translated from French), “I would like this image to be like a last flower on the grave of an old comrade who took away with him a great piece of my youth; me: leaving the respect of a great composition and the memory of a friendship.” 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. ROGER BISSIERE (1886-1964) was a French visual artist and teacher. He designed stained glass windows for Metz cathedral and several other churches; as well as painted, and collaged textiles. A student at the Académie des Beaux-Arts in Bordeaux, Bissière settled in Paris in 1909. From 1912 onwards Bissière supplemented his income as a painter with writing exhibition reviews and critics first for 'L'Opinion' and later for 'L'Esprit Nouveau'. These writings formed a solid basis for his personal reflections and offered the necessary references for the development of his own painting. Having befriended André Lhote and Georges Braque upon his return, Bissière was encouraged to develop a more humanized version of Cubism. As such he enriched orthodox Cubism by applying the fauve technique of heavy brushwork to its usual pictorial vocabulary. Simultaneously, Bissière was engaged by Picasso's researches into advancing Cubism, which brought him to Neo-Classicism. Bissière's unremitting investigations into the survival of Cubism ultimately pushed him to Abstraction during the early 1950s. His studies on Cubism involved a contribution to the first monograph on Braque. Bissière exhibited with the legendary art dealer Léonce Rosenberg of the Galerie L' Effort Moderne in Paris, 1921-1923, after which he was under contract with Galerie Druet, 1923-1928. In 1964 he represented France at the Venice Biennale. Bissière's authority as a teacher at the Académie Ranson, from 1925 until 1938, is traced in an entire generation of abstract artists including Manessier and Viera de Silva. In 2012, Roger Bissière's painting, Composition 119 (Oiseau rouge sur noir), sold for $480,471 USD at Sotheby's Paris, setting a world record for the artist.
  • Creator:
    Roger Bissière (1886-1964, 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: LU1465216842982

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