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Jean Fautrier
Annabelle nue, Société internationale d'art XXe siècle
1957

Name: Annabelle nue, Société internationale d'art XXe siècle
Brand: Jean Fautrier
Price: 659.17 CHF
Availability: InStock
Rating: 4.9 (68 reviews)

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Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N° 9 (double) Juin 1957, Cahiers d'Art publiés sous la direction de Gualtieri di San Lazzaro, 1957. Published by Société Internationale d'Art XXe siècle, Paris, under the direction of Gualtieri di San Lazzaro, éditeur, Paris; printed by Atelier Jacomet, Paris, under the direction of Daniel Jacomet, Paris, 1957. 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. JEAN FAUTRIER (1898-1964) was a French painter, illustrator, printmaker, and sculptor. He was one of the most important practitioners of Tachisme. Fautrier's career began in 1920. His painting, figurative at the time, was made up of still lifes, landscapes and nudes in styles ranging from a harsh, hallucinatory realism to darkly lit near-abstract shapes. After a brief period of recognition, however, the economic slump ultimately put paid to his artistic career: forced to leave Paris in the early 1930s, he lived in the Alps for several years, working as a ski instructor and manager of a hotel with its own dance hall. Returning to Paris in 1940, he met or renewed his acquaintance with writers including André Malraux, Francis Ponge, Paul Éluard, Georges Bataille and most importantly Jean Paulhan, who would become his most ardent champion. During the War years he developed a new approach to the image in which paint itself took on a steadily increasing role in the representation of objects, landscapes and bodies. In his famous series – Otages (Hostages; 1943–1945), Objets (Objects; 1955), Nus (Nudes; 1956) and Partisans (Partisans; 1957) – textural effects became the main subject. Using a glue-based paint for blends of pigment with transparent and opaque inks, Fautrier composed intricate, luminous harmonies whose impastos and textures induced a certain anxiety. 1960 saw him acclaimed at the Venice Biennale, where he shared the Grand Prize for Painting with Hans Hartung. Jean Fautrier died during the summer of 1964, just after his first retrospective at the Musée d’Art moderne de la Ville de Paris. In 2021, Jean Fautrier‘s painting, Pièges, sold for $6,238,164 USD at Christie's London, setting a world record for the artist.

Creador:

Jean Fautrier (1898 - 1964, Francés)

Año de creación:

1957

Dimensiones:

Altura: 31,5 cm (12,4 in)Anchura: 24,52 cm (9,65 in)

Medio:

Litografía

Movimiento y estilo:

Moderno

Época:

1950-1959

Estado:

Ubicación de la galería:

Auburn Hills, MI

Número de referencia:

1stDibs: LU1465216483652

Descuento del 34 %

Envío gratuito

1800 US$

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Jean FautrierAnnabelle nue, Société internationale d'art XXe siècle1957

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Jean Fautrier

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