Dubuffet, Le Guerrier (Webel 393), XXe Siècle (after)

View Similar Items

(after) René Magritte - Moderna Museet ( the Red Model ) Oct -Nov ’67 original poster by Magritte framed

Salvador Dalí - Salvador Dali - Attack on the Windmils - Original Lithograph

Joan Miró - LA FOLLE AU PIMENT RAGEUR

Salvador Dalí - Salvador Dali - Don Quixote Reading in his Room - Original Lithograph

Joan Miró - Terres Grand de Feu (one plate from Artigas) (~50% OFF LIST PRICE, LIMITED TIME)

Leonids Maurins - Self-portrait of a painter in old garden. 2/31., 2010., lithograph, 46x36cm

Joseph Rozman - 'Mad Dash' original lithograph signed by Joseph Rozman

Donald Sexauer - "Soldier Marionettes" Surrealist Figurative Lithograph

Salvador Dalí - Behold The Virgin Shall Conceive from Biblia Sacra by Salvador Dali

Salvador Dalí - Biblia Sacra Man and Woman in the Garden of Pleasure original lithograph Salvado

Robert Levers - "Four Terrorist Trapped in a Bullring" Edition 2 of 20

John Hultberg - Guatemala, Signed Surrealist Landscape Lithograph by John Hultberg

Want more images or videos?

Request additional images or videos from the seller

1 of 5

Dubuffet, Le Guerrier (Webel 393), XXe Siècle (after)
1958

About the Item

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, vol. n°10, 1958. Published and printed under the direction of Gualtieri di San Lazzaro, éditeur, Paris, by Société Internationale d'Art XXe siècle, Paris. 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. JEAN DUBUFFET (1901-1985) was a French painter and sculptor of the Ecole de Paris (School of Paris). His idealistic approach to aesthetics embraced so-called "low art" and eschewed traditional standards of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making. He is perhaps best known for founding the art movement art brut, and for the collection of works—Collection de l'art brut—that this movement spawned. Dubuffet enjoyed a prolific art career, both in France and in America, and was featured in many exhibitions throughout his lifetime. Dubuffet achieved very rapid success in the American art market, largely due to his inclusion in the Pierre Matisse exhibition in 1946. His association with Matisse proved to be very beneficial. Matisse was a very influential dealer of contemporary European Art in America, and was known for strongly supporting the School of Paris artists. Dubuffet's work was placed among the likes of Picasso, Braque, and Rouault at the gallery exhibit, and he was one of only two young artists to be honored in this manner. A Newsweek article dubbed Dubuffet the 'darling of Parisian avant-garde circles,' and Greenberg wrote positively about Dubuffet's three canvases in a review of the exhibit. In 1947 Dubuffet had his first solo exhibition in America, in the same gallery as the Matisse exhibition. Reviews were largely favorable, and this resulted in Dubuffet having at least an annual, if not a biannual exhibition at that gallery.

Creation Year:
1958
Dimensions:
Height: 13.375 in (33.98 cm)Width: 9.5 in (24.13 cm)
Medium:
Lithograph
Movement & Style:
Surrealist
After:
Jean Dubuffet (1901-1985, French)
Period:
1950-1959
Condition:
Gallery Location:
Auburn Hills, MI
Reference Number:
1stDibs: LU1465215127292