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Henri LaurensApollon, Verve: Revue Artistique et Littéraire1953
1953
About the Item
Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et Littéraire, Vol. VII, N° 27-28, 1953. Published by Éditions de la revue Verve, Paris, under the direction of Tériade, éditeur, Paris; printed by Mourlot Frères, Paris, January 15, 1953, in an edition of MM. Excerpted from the album (translated from French), This double issue of Verve was completed to print on January 15, 1953 by Draeger for typography and gravure and by Mourlot for lithography. Additional notes: Excerpted from Poppy Sfakianaki, ‘La revue Verve (1937–60): Un tremplin pour la carrière de Tériade dans les éditions d’art’, Journal of European Periodical Studies, 4.2 (Winter 2019), 70–89, In 1937, Tériade (1897-1983) met David Smart (1892-1952), the American publisher of Esquire magazine, who offered him to the opportunity to collaborate on the creation of 'the most beautiful magazine in the world'. Smart recognized in Tériade not only his ability as a publisher and knowledge of art history, but also his professional network and the name he made for himself in the Parisian art world—all crucial advantages for an editorial business. Having had the commercial conviction that beauty "sells", Smart intended to address the American public, attracted to French art, including Modern art, and the myth of artistic life in Paris. For his part, Tériade saw the proposed collaboration as an opportunity for a foray into the American market—a powerful ally of modern art in France. Éditions de la Revue Verve was founded in November 1937, largely funded by Smart, and directed by Tériade. Verve: Revue Artistique et Littéraire was a luxurious and ambitious art publication, published not only in French, but also in English in its early years, and distributed in Europe and the United States. Its configuration was reminiscent of that of the French art journals Cahiers d'art, Minotaure, and Arts et métiers graphiques, as well as that of the American art magazine, Coronet. However, Verve was superior to the competition because of its copious iconography and high printing quality. Its price varied between 60 and 150 francs (for double numbers) before the war, and between 120 and 350 francs during the war. Given its high price, the magazine mainly targeted art dealers, collectors, bibliophiles and wealthy art lovers. The exquisite aesthetics of the magazine was due to its editor-in-chief, Tériade, who sought to develop a platform for dialogue between image and text, visual arts and literature. The dominant factor of each issue remains its iconography, composed of reproductions of works by modern artists that Tériade admired, and 'masters', mainly of the French tradition, alongside photos and miniatures of medieval manuscripts. Tériade undoubtedly realized with his magazine an idea expressed in 1934 according to which books served as an 'ideal museum' or an exhibition where all the artistic masterpieces are gathered, which Malraux developed later in Le Musée imaginaire (Geneva: Skira, 1947), parts of which will appeared in Verve. During Second World War the periodicity of the journal changed, then irregular, and the less varied nature of the subjects treated. Thus, the issues published during the War (as well as in 1945 and 1946) were devoted exclusively to the reproduction of medieval illuminations. Finally, the special issues of the post-war period each present the recent production of a modern art painter. Only numbers 8 (1940) and 27-28 (1952) were an exception with a more varied summary. Verve's reception was positive as evidenced by several laudatory press articles throughout its run. The success of the magazine, Tériade's passion for modern art and medieval manuscripts, his admiration for the publications of Ambroise Vollard and Albert Skira, and his knowledge of the world of bibliophiles, soon led him to amplify his editorial activity. In 1943, despite the practical difficulties imposed by the war, his first artist's book was published, written and illustrated by Georges Rouault. Until 1975, Tériade published Éditions de la Revue Verve, nine books by modern artists, such as Henri Matisse, Pablo Picasso, Marc Chagall, Joan Miró, entirely composed (text and images) by the artists; seventeen books illustrated by recognized modern artists; an album of lithographs by Fernand Léger on Paris; two photographic albums by Henri Cartier-Bresson; two monographs on the artists André Beaudin and Francisco Borès; a luxurious series of reproductions of medieval illuminations; and, a series of portfolios on great French architecture. Ultimately, the comparative study of the journal and the editions of Verve: Revue Artistique et Littéraire illustrates the importance of the tacit relational dynamic that results from the relations of collaboration and exchange of symbolic capital based on common perceptions and interests, as well as on feelings of mutual friendship and appreciation of actors in the art world who share a visual and bibliophilic culture and thus contribute to the success of the journal and the publishing house.
HENRI LAURENS (1885-1954) was a French sculptor and illustrator. Laurens was drawn to a new gathering of artistic creativity in Montparnasse. From 1915, he began to sculpt in the Cubist style after meeting Pablo Picasso, Georges Braque, Juan Gris and Fernand Léger. Multi-talented, Laurens worked with poster paint, and collage. He was an engraver, and created theatre design and decoration. In 1915, he illustrated a book for his friend, the author Pierre Reverdy. In 1937, he was awarded the Helena Rubinstein Prize, which brought him in additional commissions. In 1938, he shared an exhibition with Braque and Picasso that travelled to major Scandinavian cities. In 1947, he made prints for book illustrations. In 1948, he exhibited his art at the important international Venice Biennale. That same year, he exhibited at the Galerie d'Art Moderne in Basel, Switzerland. Many of his sculptures are massive objects. An example of this style is the monumental piece L'Amphion, which he first designed on a smaller scale before created the final version in 1952 for the Central University of Venezuela, Caracas, after a request from the architect Carlos Raúl Villanueva. Laurens' sculptural work influenced the work of architect Jørn Utzon, famous for the Sydney Opera House, in particular Laurens' tomb for an aviator designed for the cemetery of Montparnasse, Paris, in 1924.
- Creator:Henri Laurens (1885 - 1954, French)
- Creation Year:1953
- Dimensions:Height: 14 in (35.56 cm)Width: 10.25 in (26.04 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Auburn Hills, MI
- Reference Number:1stDibs: LU1465216383722
Henri Laurens
Henri Laurens was born in Paris in 1885. Impaired by tuberculosis when he was only 17, he was leg-amputated seven years later. First a stone cutter, he then became a sculptor. In 1899, he studied drawing. Laurens was strongly influenced by cubism, he discovered as soon as 1908 at La Ruche. Attracted by the Montparnasse artists group, in 1911, he started sculpting in a cubist way. Friends of Juan Gris and Picasso, Laurens was also extremely close to Braque (who considered Laurens as a brother). Laurens who dedicated most of his work to the human face destroyed a lot of art pieces only to leave the ones accomplished. Laurens being recognized worldwide, his last 10 years production (La Grande baigneuse, 1947, L'Automne, 1948) was bought by the most famous museums. “His way of breathing, touching, feeling, thinking becomes an object, becomes sculpture.“ wrote Giacometti. Laurens died in 1954 in Paris.
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