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Beaudin, Composition, André Beaudin, Verve: Revue Artistique (after)
1961

Name: Beaudin, Composition, André Beaudin, Verve: Revue Artistique (after)
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About the Item

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, André Beaudin, Verve: Revue Artistique et Littéraire, 1961. Published by Éditions de la revue Verve, Paris, under the direction of Tériade, éditeur, Paris; printed by Mourlot Frères, Paris, July 25, 1961. Excerpted from the volume (translated from French), Planned and produced by Éditions Verve, this volume is devoted to the works of André Beaudin from 1921 to 1961. Printing was completed in Paris on July 25, 1961, by Draeger Frères for the heliogravure in colors and in black and white. The eight original lithographs and the cover specially designed by the artist have been printed by Mourlot Frères. Excerpted from Poppy Sfakianaki, ‘La revue Verve (1937–60): Un tremplin pour la carrière de Tériade dans les éditions d’art’, Journal of European Periodical Studies, 4.2 (Winter 2019), 70–89, In 1937, Tériade (1897-1983) met David Smart (1892-1952), the American publisher of Esquire magazine, who offered him to the opportunity to collaborate on the creation of 'the most beautiful magazine in the world'. Smart recognized in Tériade not only his ability as a publisher and knowledge of art history, but also his professional network and the name he made for himself in the Parisian art world—all crucial advantages for an editorial business. Having had the commercial conviction that beauty "sells", Smart intended to address the American public, attracted to French art, including Modern art, and the myth of artistic life in Paris. For his part, Tériade saw the proposed collaboration as an opportunity for a foray into the American market—a powerful ally of modern art in France. Éditions de la Revue Verve was founded in November 1937, largely funded by Smart, and directed by Tériade. Verve: Revue Artistique et Littéraire was a luxurious and ambitious art publication, published not only in French, but also in English in its early years, and distributed in Europe and the United States. Its configuration was reminiscent of that of the French art journals Cahiers d'art, Minotaure, and Arts et métiers graphiques, as well as that of the American art magazine, Coronet. However, Verve was superior to the competition because of its copious iconography and high printing quality. Its price varied between 60 and 150 francs (for double numbers) before the war, and between 120 and 350 francs during the war. Given its high price, the magazine mainly targeted art dealers, collectors, bibliophiles and wealthy art lovers. The exquisite aesthetics of the magazine was due to its editor-in-chief, Tériade, who sought to develop a platform for dialogue between image and text, visual arts and literature. The dominant factor of each issue remains its iconography, composed of reproductions of works by modern artists that Tériade admired, and 'masters', mainly of the French tradition, alongside photos and miniatures of medieval manuscripts. Tériade undoubtedly realized with his magazine an idea expressed in 1934 according to which books served as an 'ideal museum' or an exhibition where all the artistic masterpieces are gathered, which Malraux developed later in Le Musée imaginaire (Geneva: Skira, 1947), parts of which will appeared in Verve. During Second World War the periodicity of the journal changed, then irregular, and the less varied nature of the subjects treated. Thus, the issues published during the War (as well as in 1945 and 1946) were devoted exclusively to the reproduction of medieval illuminations. Finally, the special issues of the post-war period each present the recent production of a modern art painter. Only numbers 8 (1940) and 27-28 (1952) were an exception with a more varied summary. Verve's reception was positive as evidenced by several laudatory press articles throughout its run. The success of the magazine, Tériade's passion for modern art and medieval manuscripts, his admiration for the publications of Ambroise Vollard and Albert Skira, and his knowledge of the world of bibliophiles, soon led him to amplify his editorial activity. In 1943, despite the practical difficulties imposed by the war, his first artist's book was published, written and illustrated by Georges Rouault. Until 1975, Tériade published Éditions de la Revue Verve, nine books by modern artists, such as Henri Matisse, Pablo Picasso, Marc Chagall, Joan Miró, entirely composed (text and images) by the artists; seventeen books illustrated by recognized modern artists; an album of lithographs by Fernand Léger on Paris; two photographic albums by Henri Cartier-Bresson; two monographs on the artists André Beaudin and Francisco Borès; a luxurious series of reproductions of medieval illuminations; and, a series of portfolios on great French architecture. Ultimately, the comparative study of the journal and the editions of Verve: Revue Artistique et Littéraire illustrates the importance of the tacit relational dynamic that results from the relations of collaboration and exchange of symbolic capital based on common perceptions and interests, as well as on feelings of mutual friendship and appreciation of actors in the art world who share a visual and bibliophilic culture and thus contribute to the success of the journal and the publishing house. ANDRE BEAUDIN (1895-1979) developed his individual style during the 1930’s and became regarded as one of the leading painters of the École de Paris. His technique has its origins in the early 1920’s. By that time Cubism had become a formulaic and intellectualised system of painting which left little artistic liberty to its adherents. Beaudin was one of the first younger artists to have reacted pictorially against the continuation of the movement, and though considered a descendant of Cubism and especially of his friend Juan Gris, the art of Beaudin became a search for all that was contrary to formula. He relished the freedom to paint intuitively, creating lyrical harmonious compositions for which he is internationally renowned. Having studied at the École des Art Décoratifs in Paris from 1911-1913, Beaudin was called up to serve during WWI, so his artistic motivation was suppressed until he visited Italy in 1921 with his new wife Suzanne Roger. On his return to Paris he began to paint zealously and in 1922 his close friend André Masson introduced him to Max Jacob who organised an exhibition for Beaudin the following year at Galerie Percier. The success of this show lead to further shows over the next few years at Galerie Georges Bernheim and Galerie Simon. In 1937 Beaudin exhibited at the International Paris exhibition, and the following year participated in the L’Art Français Exhibition in Buenos Aires. By the 1940’s he had established an international reputation and held major solo shows in Dublin, 1947; New York and Zurich, 1949; Berne 1953; Stockholm, 1956; Maison de la Culture du Harvre, 1962; Chicago, 1967; Milan, 1970; Grand Palais, Paris, 1970. Also major group shows including École de Paris, Berne 1946; Carnegie International, Pittsburgh, 1950; School of Paris, Royal Academy, London, 1951; Biennale de Sao Paulo, 1951, 1955; Art from France, Museum of Art, San Francisco, 1956; École de Paris, Tate Gallery, London, 1962; Venice Biennale, 1964. He was furthermore awarded the prestigious Grand Prix National des Arts in 1962 in recognition of his contribution to Modern Art. The artist is represented in numerous museums of modern art including Musée National d’Art Moderne, Centre Georges Pompidou, Centre National d’Art Contemporain, Paris; Grenoble; Marseille; Baltimore; Caracas; Dortmund; Luxembourg; Santiago; Sao Paulo; Stockholm; Vienna.

Creation Year:
1961
Dimensions:
Height: 11.57 in (29.39 cm)Width: 8.66 in (22 cm)
Medium:
Lithograph
Movement & Style:
Modern
After:
Andre Beaudin (1895 - 1879, French)
Period:
1960-1969
Condition:
Gallery Location:
Southampton, NY
Reference Number:
1stDibs: LU1465215470312

By André Bloc (b.1896)

Located in Henderson, NV

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