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Antoine Pevsner
Composition, Société internationale d'art XXe siècle
1959

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About the Item

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXIe Année, N°12 Mal-Juin 1959, Cahiers d'Art bi-annuels publiés sous la direction de G. di San Lazzaro, 1959. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Mourlot Frères, Paris, 1959. 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. ANTOINE PEVSNER (1886-1962) was a Russian-born sculptor and the older brother of Alexii Pevsner and Naum Gabo. As the originators of Constructivism and pioneers of kinetic art, the brothers are considered pioneers of twentieth-century sculpture. They made numerous prominent pieces, for instance Antoine's widely known sculpture The Flight of the Bird, located at the General Motors Technical Center in Warren, Michigan. Pevsner was born as Natan Borisovich Pevzner in Oryol, Russian Empire, into a Jewish family. Among the originators of and having coined the term, Constructivism, and pioneers of kinetic art, Pevsner and his brother Naum Gabo discovered a new use for metals and welding and made a new marriage of art and mathematics. Pevsner said: "Art must be inspiration controlled by mathematics. I have a need for peace, symphony, orchestration." He was one of the first to use the blowtorch in sculpture, welding copper rods onto sculptural forms. Along with his brother, Naum, he issued the Realist Manifesto in 1920, which they hung on the city wall. This text preaches a complete departure from the reality beyond which the brothers sought to transcend. He left the Soviet Union in 1923 and moved to Paris, where he would live for the rest of his life. He began sculpting in 1923 and created assemblages in plastic, devising forms to give them colours through the interaction of components of the light spectrum. In 1931 he joined the Parisian art movement Abstraction-Creation and became a member, and from 1946 he was the organiser of the New Realities exhibition salons. Among the honors he received were a retrospective at the Museum of Modern Art in Paris (1956-7) and the Legion of Honour (1961). In 2018, Antoine Pevsner's sculpture, Deux cônes dans un même plan, sold for $1,096,621 USD at Christie's London, setting a world record for the artist.

Creator:

Antoine Pevsner

Creation Year:

1959

Dimensions:

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

Medium:

Lithograph

Movement & Style:

Constructivist

Period:

1950-1959

Condition:

Gallery Location:

Auburn Hills, MI

Reference Number:

1stDibs: LU1465216671552

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