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Pierre AlechinskySans titre, Société internationale d'art XXe siècle1960
1960
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Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXIIe Année, N° 14, Juin 1960, Cahiers d'Art publiés sous la direction de Gualtieri di San Lazzaro, 1960. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Mourlot Frères, Paris, 1960. 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.
PIERRE ALECHINSKY (1927) is a Belgian artist. He has lived and worked in France since 1951. His work is related to tachisme, abstract expressionism, and lyrical abstraction. In 1949, he joined Christian Dotremont, Karel Appel, Constant, Jan Nieuwenhuys, and Asger Jorn to form the art group COBRA. He participated both with the COBRA exhibitions and went to Paris to study engraving at Atelier 17 under the guidance of Stanley William Hayter in 1951. In 1954, he had his first exhibition in Paris and started to become interested in Chinese and Japanese calligraphy. In the early 1950s he was the Paris correspondent for the Japanese journal Bokubi (the Beauty of Ink) published by Morita Shiryu of the Bokujinkai group. In 1955, encouraged by Henri Storck and Luc de Heusch, he left for Japan with his wife. He exhibited Night, 1952 (Ohara Museum of Art, Kurashiki) and made a film: Japanese Calligraphy – Christian Dotremont would write the commentary with music by André Souris. By 1960, he had exhibited in London, Bern, and at the Venice Biennial, and then in Pittsburgh, New York City, Amsterdam, and Silkeborg as his international reputation grew. He worked with Walasse Ting and continued to be close to Christian Dotremont. He also developed links with André Breton. His international career continued throughout the seventies and by 1983 he became Professor of painting at the École nationale supérieure des Beaux-Arts, Paris. For the season 2018/2019 at the Vienna State Opera Pierre Alechinsky designed the large-scale picture (176 sqm) Loin d'ici as part of the exhibition series Safety Curtain, conceived by museum in progress. In 2018, Pierre Alechinsky’s painting, Mur d'oiseaux, sold for $1,601,105 USD at Christie's Paris, setting a world record for the artist.
- Creator:Pierre Alechinsky (1927, Belgian)
- Creation Year:1960
- Dimensions:Height: 12.4 in (31.5 cm)Width: 9.65 in (24.52 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Southampton, NY
- Reference Number:1stDibs: LU1465216495462
Pierre Alechinsky
Pierre Alechinsky is a belgian painter born in 1927 in Brussels. Attracted by painting, Pierre Alechinsky begins aged 17 in the Ecole Nationale Supérieure d'Architecture et des Arts Décoratifs de la Cambre in Brussels. He was involved in the Cobra artistic movement with Karel Appel and Asger Jorn and organised exhibitions. In the early fifties, he learnt the art of engraving with Stanley William Hayter and also Japanese calligraphy. He met Giacometti, Bram Van Velde, and Victor Brauner. In 1955, he signs for his first exhibition at the Palais des Beaux-Arts de Bruxelles, then at the Institute of Contemporary Arts of London. His artworks, prints, lithographies, engravings and books illustrations can also be found in the USA, in France, in the Netherlands, Denmark and Germany. On and after 1965, fascinated by the Oriental calligraphy, he uses acrylic painting, ink, different types of paper as bills, and gets carried away by action painting technique. During the eighties, he became for four years a teacher of plastic arts at the Ecole Nationale Supérieure des Beaux Arts. Also a writer, Pierre Alechinsky published many books including «Titres et pains perdus », « Baluchon et ricochets », and in 2004 «Des deux mains ». He lives and works in France.
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