Richard Lindner, Rear Window, from XXe siecle, 1980 (after)
1980

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A$1,114.98

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CHF 585.61

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NOK 7,348.33

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About the Item

This exquisite lithograph after Richard Lindner (1901–1978), titled Rear Window, from the album XXe siecle, Nouvelle serie, XLIe Annee, No. 53, Hommage a Richard Lindner, originates from the 1980 edition published and printed by Leon Amiel, Publisher, New York, in collaboration with Societe Internationale d'Art XXe siecle, Paris, 1980. Rear Window captures Lindner’s fascination with the theatricality of modern life—its sensuality, mystery, and alienation—rendered through bold contours, saturated color, and psychological intensity. Executed as a lithograph on velin paper, this work measures 12.5 x 14 inches, with centerfold as issued. Signed in the plate and unnumbered, as issued. The edition exemplifies the superb craftsmanship of Leon Amiel, Publisher, New York. Artwork Details: Artist: After Richard Lindner (1901–1978) Title: Rear Window, from the album XXe siecle, Nouvelle serie, XLIe Annee, No. 53, Hommage a Richard Lindner Medium: Lithograph on velin paper Dimensions: 12.5 x 14 inches (31.75 x 35.56 cm), with centerfold as issued Inscription: Signed in the plate and unnumbered, as issued Date: 1980 Publisher: Leon Amiel, Publisher, New York, in collaboration with Societe Internationale d'Art XXe siecle, Paris Printer: Leon Amiel, Publisher, New York Condition: Well preserved, consistent with age and medium Provenance: From the album XXe siecle, Nouvelle serie, XLIe Annee, No. 53, Hommage a Richard Lindner, published and printed by Leon Amiel, Publisher, New York, in collaboration with Societe Internationale d'Art XXe siecle, Paris About the Publication: Gualtieri di San Lazzaro's XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs printed by the foremost ateliers of Paris, London, and New York, including Mourlot, Curwen, and Universal Graphics, creating a uniquely rich dialogue between text and image. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design, an enduring testament to Gualtieri di San Lazzaro's belief that the visual arts are the soul of the modern age. About the Artist: Richard Lindner (1901–1978) was a German-born American painter whose dazzling use of color, psychological depth, and provocative symbolism made him one of the most distinctive and intellectually sophisticated figures of 20th-century art. Blending the rigor of European modernism with the energy and sensuality of American Pop culture, Lindner created a visual language that explored the tensions between eroticism, identity, power, and isolation in the modern world. Born in Hamburg and raised in Nuremberg, he studied at the Kunstakademie in Munich before fleeing Nazi Germany in 1933. In Paris, he became part of the avant-garde circle that included Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists whose innovations in abstraction and surrealism profoundly shaped his evolving aesthetic. After emigrating to New York in 1941, Lindner’s experience as an illustrator and art director in advertising sharpened his sense of composition and design, which he later transformed into a painterly exploration of the psychological and sensual undercurrents of modern urban life. His monumental, stylized figures—often eroticized, mechanical, and emotionally detached—embodied the contradictions of postwar humanity: both liberated and constrained, intimate and alienated. In masterpieces such as The Meeting (1957), The Couple (1963), Boy with Machine Gun (1965), and Fun City (1971), Lindner used sharply outlined forms and saturated colors—acid yellows, electric blues, and vivid reds—to stage modernity’s theater of desire and control. Though frequently linked to Pop Art, Lindner’s work diverged from its irony by retaining a distinctly European psychological gravity, merging Expressionist emotion with Surrealist dream logic. His subjects—showgirls, soldiers, lovers, and mannequins—were transformed into archetypes of alienation and obsession, revealing both the seduction and emptiness of contemporary life. A beloved teacher at the Pratt Institute and Cooper Union, Lindner was revered by peers and students alike for his intellectual clarity and painterly precision. His influence extended to artists such as Allen Jones, Tom Wesselmann, David Salle, Eric Fischl, and Cindy Sherman, who drew from his synthesis of sensuality, artifice, and self-examination. Critics hailed him as “the last European modernist in America,” a painter who brought the psychological intensity of the Old World into dialogue with the visual spectacle of the New. His works have been exhibited in major retrospectives at the Museum of Modern Art (New York), the Whitney Museum of American Art, the Centre Pompidou (Paris), and the Stedelijk Museum (Amsterdam), and are held in leading collections including MoMA, the Guggenheim, the Tate Modern, and the Art Institute of Chicago. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Richard Lindner remains one of the defining figures of modern art—a painter who united eroticism, intellect, and design in an unflinching portrait of the modern psyche. His highest auction record was achieved by The Meeting (1957), which sold for $2.17 million USD at Sotheby’s, New York, on May 15, 2003, reaffirming his enduring legacy as one of the most provocative, psychologically incisive, and collectible artists of the modern era. Richard Lindner Rear Window, Lindner XXe siecle, Lindner Hommage a Richard Lindner, Lindner 1980 lithograph, Lindner Leon Amiel Publisher, Lindner velin paper, Lindner collectible print.

Creation Year:
1980
Dimensions:
Height: 12.4 in (31.5 cm)Width: 14 in (35.56 cm)
Medium:
Lithograph
Movement & Style:
Modern
After:
Richard Lindner (1901-1978, American)
Period:
1980-1989
Condition:
Gallery Location:
Southampton, NY
Reference Number:
1stDibs: LU1465216628932

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