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Yaacov Agam
Sans titre, Société internationale d'art XXe siècle
1980

Name: Sans titre, Société internationale d'art XXe siècle
Brand: Yaacov Agam
Price: 580.59 CHF
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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, Homage to Agam, Solomon R. Guggenheim Museum Exhibition 1980, Special issue of the XXe Siècle Review, 1980. Published by Léon Amiel Publisher, Inc., New York, in association with Société Internationale d'Art XXe siècle, Paris; printed by Amilcare Pizzi, S.p.A., Milan, 1980. 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. YAACOV AGAM (1928) is an Israeli sculptor and experimental artist widely known for his contributions to optical and kinetic art. Agam's first solo exhibition was at the Galerie Craven, Paris, in 1953, and he exhibited three works at the 1954 Salon des Réalités Nouvelles[3] and at the Le Mouvement exhibition at the Galerie Denise René, Paris, in 1955. Agam's work is usually abstract, kinetic art, with movement, viewer participation and frequent use of light and sound. His works are placed in many public places. His best-known pieces include Double Metamorphosis III (1965), Visual Music Orchestration (1989), the fountain at the La Défense district in Paris (1975) and the Fire and Water Fountain in the Dizengoff Square in Tel Aviv (1986). He is also known for a type of print known as an "Agamograph", which uses barrier-grid animation to present radically different images, depending on the angle from which it is viewed. The lenticular technique was executed in large scale in the 30 ft (9.1 m) square "Complex Vision" (1969), mounted on the facade of the Callahan Eye Foundation Hospital in Birmingham, Alabama. Agam had a retrospective exhibition in Paris at the Musée National d'Art Moderne in 1972, and at the Guggenheim Museum in New York City in 1980, among others. His works are held in numerous museum collections including the Museum of Modern Art, and the Mildred Lane Kemper Art Museum. On December 15, 2010, Yaacov Agam’s painting, Growth, sold $698,000 USD at Sotheby's, simultaneously setting a world record for Agam, as well as a world record for the highest price ever paid for an artwork by an Israeli artist.

Creator:

Yaacov Agam (1928, Israeli)

Creation Year:

1980

Dimensions:

Height: 12.4 in (31.5 cm)Width: 9.65 in (24.52 cm)

Medium:

Lithograph

Movement & Style:

Op Art

Period:

1980-1989

Condition:

Gallery Location:

Southampton, NY

Reference Number:

1stDibs: LU1465216597552

Shop All Yaacov Agam

Yaacov Agam

Influenced by his upbringing in Judaism as well as the teachings of the Bauhaus, Yaacov Agam is a pioneer of kinetic art as well as the Op art movement and is often credited with introducing geometric abstraction to his home country of Israel.

Born in Rishon LeZion, Palestine — now part of Israel — the son of a rabbi, Agam found that the spiritual world had a major influence on his art practice, as did the sand dunes he grew up watching as they constantly shifted with the wind. This perpetual movement would inform his work, whereby riveting, prismatic compositions that transform from different perspectives, patterns that generate optical effects and sculptures that move with a passing breeze all reflect the gradual changes in nature.

Agam studied with Israeli painter Mordecai Ardon at the Bezalel School of Art in Jerusalem in the 1940s before traveling to Zurich where he trained with Swiss Expressionist painter Johannes Itten and was inspired by the abstract work of Russian painter Wassily Kandinsky.

One of the innovative techniques Agam developed was the Agamograph, which uses lenticular printing so that multiple images, which are revealed as the viewer moves around the piece, can be seen on a single work. His art has regularly involved the spectator as a participant, whether it’s the 1972–74 room-size kinetic installation he created for the Elysée Palace that’s now in the Centre Pompidou in which a gleaming abstract sculpture is surrounded on all sides by polychromatic lines or it’s public art like the 1986 Fire and Water Fountain in Tel Aviv with circles of vibrant panels that offer varying colors from every angle.

In 2018, the Yaacov Agam Museum of Art opened in Rishon LeZion, showcasing six decades of Agam’s influential work that engages with perception through color, shape and form, from paintings, prints and installations to new experiments in interactive digital art.

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Located in Long Island City, NY

Union III Yaacov Agam, Israeli (1928) Date: 1976 Screenprint, signed in pen lower right Image Size: 27 x 22.75 inches Size: 33 x 28.75 in. (83.82 x 73.03 cm)

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