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Giacomo ManzúComposition, Société internationale d'art XXe siècle1984
1984
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About the Item
Lithograph on vélin paper. Paper Size: 12.4 x 19.3 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XLIIIe Année
N°58, Janvier 1984, Cahiers fondés en 1938 par Gualtieri di San Lazzaro et publiés sous la direction de Léon Amiel, 1984. Published by Léon Amiel Publisher, Inc., Paris, in association with Société Internationale d'Art XXe siècle, Paris; printed by Amilcare Pizzi, S.p.A., Milan, 1984. 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.
GIACOMO MANZU (1908-1991), was an Italian sculptor, painter, and printmaker. Devoted to representing the human figure, Giacomo Manzù's emphasis on design and simplified form set his work apart from his more traditional contemporaries. He sought to create sculptures that were not simply representational, but also acted as symbols of universal meaning for all viewers. Manzù was the son of a shoemaker and at age thirteen, apprenticed as a craftsman. He learned to carve and worked with wood, stone, and plaster. Unexposed to contemporary art, Manzù was captivated by classical sculpture, the work of Michelangelo, and also Aristide Maillol's figures, which he discovered in books. After a short trip to Paris in 1929, Manzù moved to Milan and began creating his first sculptures--many of which he would ultimately destroy. In the 1930s, Manzù explored various materials from painted terra cotta and stucco to marble and bronze. He created three-dimensional figures as well as reliefs, focusing on genre scenes and figures from the Bible. By the end of the decade, Manzù had established several subjects to which he returned for many years. These included life-size nudes, scenes of the Crucifixion and Deposition, the Catholic cardinal, and the painter with his model. Manzù favored bronze, but he also made marble versions of some of his forms works. He gradually achieved recognition for his sculpture and accepted several teaching positions. During World War II, Manzù made a series of eight reliefs entitled Christ Of Our Humanity, expressing his opposition to Fascism. He created a number of commissions for bronze doors including the monumental Door of Death for St. Peter's Basilica in Rome. In the 1950s, he explored a range of new subjects including ballerinas and skaters, mothers and children, and lovers. In 2001, Giacomo Manzù’s sculpture, Cardinale seduto, sold for $616,799 USD at Sotheby's London, setting a world record for the artist.
- Creator:Giacomo Manzú (1908 - 1991, Italian)
- Creation Year:1984
- Dimensions:Height: 12.4 in (31.5 cm)Width: 19.3 in (49.03 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Auburn Hills, MI
- Reference Number:1stDibs: LU1465216593092
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