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Wifredo LamComposition, Derrière le miroir1953
1953
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° 55-56, 1953. Published by Aimé Maeght, Éditeur, Paris; printed by Éditions Pierre à Feu, Galerie Maeght, Paris, 1953. 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.
WIFREDO LAM 林飛龍 (1902-1982) was a Cuban artist who sought to portray and revive the enduring Afro-Cuban spirit and culture. Inspired by and in contact with some of the most renowned artists of the 20th century, including Pablo Picasso, Henri Matisse, Frida Kahlo and Diego Rivera, Lam melded his influences and created a unique style, which was ultimately characterized by the prominence of hybrid figures. This distinctive visual style of his also influences many artists. Though he was predominantly a painter, he also worked with sculpture, ceramics and printmaking in his later life. On June 29, 2020 the painting by Lam, "Omi Obini" sold at Sotheby's, New York for $9,603,800 USD setting a world record for the artist.
- Creator:Wifredo Lam (1902-1982, Cuban)
- Creation Year:1953
- Dimensions:Height: 15 in (38.1 cm)Width: 22 in (55.88 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Auburn Hills, MI
- Reference Number:1stDibs: LU1465216420352
Wifredo Lam
Wifredo Lam was an Afro-Cuban artist best known for his unique Surrealist aesthetic that combined European artistic movements with the imagery of his native country.
“I responded always to the presence of factors that emanated from our history and our geography, tropical flowers, and black culture,” Lam once said.
In one of his most famous paintings, The Jungle (1943), these various influences are melded together, onto a single large-scale canvas. Born Wifredo Oscar de la Concepción Lam y Castilla on December 8, 1902 in Sagua la Grande, Cuba, the painter moved to Madrid, Spain in 1923 to study with Fernando Álvarez de Sotomayor, who had been the teacher of famed Surrealist Salvador Dalí.
Lam moved to Paris after seeing an exhibition of Pablo Picasso’s work in Spain. Having arrived in the French capital, he introduced himself to Picasso who subsequently showed Lam his collection of African and Oceanic artworks. The two artists' interaction figured heavily in Lam’s work throughout the remainder of his career. He died on September 11, 1982 in Paris, France at the age of 79.
Today, the artist’s works are held in the collections of the Tate Gallery in London, the Reina Sofia Museum in Madrid, the Museum of Modern Art in New York, and the National Gallery of Art in Washington, D.C., among others.
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