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Zao Wou-KiSans titre (Ågerup 268), San Lazzaro et ses Amis, XXe siècle1975
1975
$2,396
$2,99520% Off
£1,806.59
£2,258.2420% Off
€2,089.59
€2,611.9820% Off
CA$3,389.84
CA$4,237.3120% Off
A$3,695.67
A$4,619.5920% Off
CHF 1,952.72
CHF 2,440.9020% Off
MX$45,448.06
MX$56,810.0820% Off
NOK 24,280.52
NOK 30,350.6520% Off
SEK 22,856.89
SEK 28,571.1120% Off
DKK 15,599.14
DKK 19,498.9220% Off
About the Item
Lithograph on vélin d'Arches paper. Paper Size: 14 x 10.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Zao, Wou-ki, et al. Zao Wou-Ki, the Graphic Work: A Catalogue Raisonné, 1937-1995. Edition Heede & Moestrup, 1994, illustration 268. Notes: From the album, San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siècle, 1975. Published by XXe siècle, Paris; printed by Ateliers Bellin, Paris, October, 1975. Excerpted from the folio (translated from French), Finished printing in Paris in October 1975. This album has been printed on vélin d'Arches in DLXXV numbered examples. The LXXV original examples include a series of VIII original lithographs, signed and numbered by the artists. In addition, LV examples were printed for artists, authors, friends and collaborators of XXe siècle. The typography is from l'Imprimerie Union in Paris; the lithographs of Max Bill, Marc Chagall, Hans Hartung, Braque, Fontana, Magnelli, Picasso, Magritte and Poliakoff were printed by Fernand Mourlot in Paris; those of Alexander Calder and Joan Miró by l'imprimerie Arte in Paris; that of Max Ernst by Pierre Chave in Vence; that of Zao Wou-ki by ateliers Bellini in Paris; and that of Henry Moore by the Curwen Studio in London. 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.
ZAO WOU-KI (Chinese: 赵无极) (1920-2013) was a Chinese-French painter. He was a member of the Académie des Beaux-Arts in Paris. Zao Wou-Ki graduated from the China Academy of Art in Hangzhou, where he studied under Fang Ganmin and Wu Dayu. Zao's works, influenced by Paul Klee, are orientated to abstraction. He names them with the date in which he finishes them, and in them, masses of colours appear to materialise a creating world, like a Big Bang, where light structures the canvas. He worked formats in triptychs and diptychs. While his work was stylistically similar to the Abstract Expressionists whom he met while travelling in New York, he was influenced by Impressionism. In 2017, Zao Wou-ki's painting, 29.01.64, was sold for $26 million USD at Christie's Hong Kong, setting a world record for the artist, and simultaneously setting a world record for the highest price paid for an oil painting by any Asian artist in world history as of 2017.
- Creator:Zao Wou-Ki (1921, Chinese)
- Creation Year:1975
- Dimensions:Height: 14 in (35.56 cm)Width: 10.5 in (26.67 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Southampton, NY
- Reference Number:1stDibs: LU1465216913502
Zao Wou-Ki
Zao Wou-Ki was born in Beijing, China, on February 13, 1921, to a wealthy family descended from the Song Dynasty.
French-educated Chinese artist Lin Fengmian was Wou-Ki’s teacher at the China Academy of Art from 1935–41 and encouraged him to study abroad in Paris. Wou-Ki made the move in 1948 with a substantial amount of financial backing and later adopted France as his new home, remaining in the country, besides a few short trips abroad, until his death.
In Paris, Wou-Ki quickly joined a large postwar French art circle, composed of key writers, poets, painters and cultural figures, including Joan Miró, Pablo Picasso, Riopelle and Vieira da Silva, among others. This networking helped position himself at the top of the Lyrical Abstraction movement. By his mid-30s, Wou-Ki had decided to devote his artistic career to abstract painting that blended Eastern and Western stylistic traditions.
In 2011, Wou-Ki was referred to in art publications as the top-selling living Chinese artist. He died in Nyon, Switzerland, on April 9, 2013, at the age of 93.
Find authentic Zao Wou-Ki prints and other art on 1stDibs.
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