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Roger Bissière
Sans titre, Société internationale d'art XXe siècle
1964

Name: Sans titre, Société internationale d'art XXe siècle
Brand: Roger Bissière
Price: 587.79 CHF
Availability: InStock
Rating: 4.9 (67 reviews)

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About the Item

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXVIe Année N°24, Décembre 1964, Cahiers d'art créés en 1938 par G. di San Lazzaro, 1964. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Mourlot Frères, Paris, 1964. 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. 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: 12.4 in (31.5 cm)Width: 9.65 in (24.52 cm)

Medium:

Lithograph

Movement & Style:

Modern

Period:

1960-1969

Condition:

Gallery Location:

Southampton, NY

Reference Number:

1stDibs: LU1465216534062

Shop All Roger Bissière

Roger Bissière

Roger Bissière was born on September 22, 1886 in Villeréal (Lot-et-Garonne). He embarked in 1904 for Algiers where he worked for almost a year with the orientalist painter Rochegrosse. Returning in 1905 he attended the School of Fine Arts in Bordeaux and, from 1909 to 1911, that of Paris, traveling to Rome and London. From 1914 he participated in collective events (Salon of independent artists, Salon d'automne) and binds in the following years with André Lhote, Georges Braque, Juan Gris.Roger Bissière was born on September 22, 1886 in Villeréal (Lot-et-Garonne). At the International Exhibition of Arts and Techniques in Paris in 1937 Bissière participated in the decoration of various pavilions, including that of the Railways, assisted by Bertholle, Le Moal and Manessier. On the initiative of the latter, Bissière exhibited in 1943 and 1944 at the Galerie de France new pastels made during the winter, alongside works by Bertholle, Le Moal, Manessier, Gustave Singier, Louttre B. and Etienne Martin . "My youth began at sixty," he says later. In 1952, Roger Bissière received the Grand Prix National des Arts. He returned to oil painting in 1954. In 1955, Bissière was invited to the II Biennial of Sao Paulo and exhibited at the "Dokumenta" of Cassel. In 1958, he created stained glass windows for the churches of Develier and Cornol in Switzerland, while a retrospective traveling exhibition was devoted to him in the German and Dutch museums, and in 1960 he created the models of two stained glass windows for the cathedral of Metz. In 1964, presentation of his paintings at the French pavilion of the Venice Biennale, where he received a special mention of honor, which will not be awarded later, "because of the historical and artistic importance of his work". Bissière died in Boissierette (Lot) on December 2, 1964. Important retrospectives of Bissière's work have been organized over the last twenty years, notably in France, Paris and the provinces, Germany and the Netherlands.

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