Items Similar to Rouault, Composition, Derrière le miroir (after)
Want more images or videos?
Request additional images or videos from the seller
1 of 7
Rouault, Composition, Derrière le miroir (after)1951
1951
About the Item
Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good Condition. Notes: From Derrière le miroir, N° 36-37-38, published by Derrière le miroir, Paris; printed by Galerie Maeght, Paris, 1951. Excerpted from a Christie’s, New York lot essay, The life span of Derrière le Miroir was thirty-five years. Publication began in 1946. Aimé Maeght, initiator of Derrière le Miroir, had already made few attempts to start publications illustrated with fine printed lithographs in colours in the years prior to the launch of Derrière le Miroir. The name, Derrière le Miroir was suggested by Jacques Kober, manager of Galerie Maeght. The gallery had opened in 1945; the first number of Derrière le Miroir was released a year later. For this first issue Geer van Velde was invited to create lithographs to illustrate the publication. The lithographs in the first issue was printed by Mourlot, Paris. The first three issues of Derrière le Miroir were unsuccessful for Maeght as far as the edition size—the initial print-runs were far too large. From 30,000 for the first issue, the number was taken down to 10,000 for numbers two and three, until Derrière le Miroir number four was published in an edition of 1500. Maeght instituted a policy whereby unsold issues were recycled and used for the fabrication of new paper for the coming editions—this served to both conserve resources and also usually result in ultimate edition sizes far less than 1,500. With number four, the permanent format for Derrière le Miroir was established. Lithographs in colours were key; text was limited to comments on the featuring artist's exhibition taking place in the Galerie Maeght, and this catalogue format was defining to Derrière le Miroir. Galerie Maeght took on the leading role in Paris and presented all main artists including Braque, Matisse, Chagall, Léger, Bonnard, Chillida and many more. So too did Derrière le Miroir. The idea of a magazine was meanwhile still on the mind of Aimé Maeght. He found an insert as a solution. Two, and later four, pages of art review were inserted from 1952 onwards. In 1968 this find had ripened to independency and the dream of Aimé Maeght was now a tangible fact named l'Art vivant. Derrière le Miroir was on it's own again. Over 250 issues in a row. At that point publisher Aimé Maeght wished to make a mark with the publication of an hommage to all who once contributed to the magazine which came in the form of issue number 250, but was delayed by the death of Aimé Maeght. It was published after number 253 in 1982 and became a tribute to Aimé and Marguérite Maeght and 35 years of friendship with artists and poets. The era of Derrière le Miroir was closed with that final publication.
GEORGES ROUAULT (1871-1958) French painter, printmaker, ceramicist, and maker of stained glass who, drawing inspiration from French medieval masters, united religious and secular traditions divorced since the Renaissance. Rouault was born in a cellar in Paris during a bombardment of the city by the forces opposed to the Commune. His father was a cabinetmaker. A grandfather took an interest in art and owned a collection of Honoré Daumier’s lithographs; Rouault said later that he “went first to school with Daumier.” In 1885 he enrolled in an evening course at the Paris École des Arts Décoratifs. From 1885 to 1890 he was apprenticed in a glazier’s workshop; his mature style as a painter was undoubtedly influenced by his work on the restoration of medieval stained-glass windows, including those of Chartres cathedral. In 1891 he entered the École des Beaux-Arts, where he soon became one of the favourite pupils of the Symbolist painter Gustave Moreau, in a class that also included the young Henri Matisse and Albert Marquet. After the death of Moreau in 1898, a small Paris museum was created for his pictures, and Rouault became the curator. Among the major artists of the 20th-century school of Paris, Rouault was an isolated figure in at least two respects: he practiced Expressionism, a style that has never found much favour in France, and he was chiefly a religious painter—one of the most convincing in recent centuries. Both statements, however, need qualification. Rouault was not as fiercely Expressionistic as some of his Scandinavian and German contemporaries; in some ways his work is a late flowering of 19th-century Realism and Romanticism. And he was not an official church artist; his concern with sin and redemption was deeply personal. Rouault was in the milieu of Picasso.
- Creation Year:1951
- Dimensions:Height: 15 in (38.1 cm)Width: 11 in (27.94 cm)
- Medium:
- Movement & Style:
- After:Georges Rouault (1871-1958, French)
- Period:
- Condition:
- Gallery Location:Auburn Hills, MI
- Reference Number:1stDibs: LU1465214004482
About the Seller
4.9
Gold Seller
These expertly vetted sellers are highly rated and consistently exceed customer expectations.
Established in 2002
1stDibs seller since 2021
868 sales on 1stDibs
Typical response time: 1 hour
- ShippingRetrieving quote...Ships From: Clinton Township, MI
- Return PolicyA return for this item may be initiated within 1 day of delivery.
Auctions on 1stDibs
Our timed auctions are an opportunity to bid on extraordinary design. We do not charge a Buyer's Premium and shipping is facilitated by 1stDibs and/or the seller. Plus, all auction purchases are covered by our comprehensive Buyer Protection. Learn More
More From This SellerView All
- de La Fresnaye, Visage, Roger de La Fresnaye (after)By Roger de la FresnayeLocated in Auburn Hills, MILithograph on vélin d'Arches. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Roger de la Fresnaye, III, Collection Pierre Levy, 1968; published by Ferna...Category
1960s Modern Abstract Prints
MaterialsLithograph
- Léger, Composition, Douze Contemporains (after)By Fernand LégerLocated in Auburn Hills, MILithograph, stencil on wove paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Douze Contemporains, 1959; published by Éditions d'Art du Lion, Paris;...Category
1950s Modern Abstract Prints
MaterialsLithograph, Stencil
- Rattner, Approaching New York, Abraham Rattner: Twenty-four plates (after)By Abraham RattnerLocated in Auburn Hills, MILithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Abraham Rattner: Twenty-four plates 1956. Published by University of...Category
1950s Modern Abstract Prints
MaterialsLithograph
- Rattner, Study for Job, Abraham Rattner: Twenty-four plates (after)By Abraham RattnerLocated in Auburn Hills, MILithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Abraham Rattner: Twenty-four plates 1956. Published by University of...Category
1950s Modern Abstract Prints
MaterialsLithograph
- Rattner, Christ surrounded by thorn, Abraham Rattner: Twenty-four plates (after)By Abraham RattnerLocated in Auburn Hills, MILithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Abraham Rattner: Twenty-four plates 1956. Published by University of...Category
1950s Modern Abstract Prints
MaterialsLithograph
- Derain, Composition, Derrière le miroir (after)By André DerainLocated in Auburn Hills, MILithograph on wove paper. Inscription: Unsigned and unnumbered. Good condition with centerfold, as issued. Notes: From Derrière le miroir, N° 94-95, published by Aimé Maeght, Éditeur...Category
1950s Modern Abstract Prints
MaterialsLithograph
You May Also Like
- Fernand Leger School Prints Colorful Modernist King of Hearts Drawing LithographBy (after) Fernand LégerLocated in Surfside, FLBright vibrant blue, orange, red, yellow, green lithograph in color. This is signed in the plate and dated. Leger's abstract drawing lithograph was drawn by the artist direct on to p...Category
1940s Modern Abstract Prints
MaterialsLithograph
- Raoul Dufy School Prints Colorful Modernist Drawing Lithograph Marching BandBy (after) Raoul DufyLocated in Surfside, FLBright vibrant blue, yellow lithograph in color. This is signed in the plate and dated. Dufy's abstract drawing lithograph was drawn by the artist direct on to plastic plates newly d...Category
1940s Modern Abstract Prints
MaterialsLithograph
- Large Venezuelan Modernist Lithograph "The Balcony #3" Color PrintBy Marius SznajdermanLocated in Surfside, FLMarius Sznajderman was a painter, printmaker and scenic designer living and working in the United States. Born in Paris, France in 1926 his Jewish parents had migrated to France from Poland in 1923. In November 1942 the family fled Nazi-occupied France for Spain before settling in Caracas, Venezuela. He attended the School of Fine Arts in Caracas where his teachers included illustrator Ramon Martin Durban, scenic designer Charles Ventrillon-Horber and painter Rafael Monasterios. and immigrated to the United States in 1949, where he received a Bachelor of Fine Arts and Master of Fine Arts from Columbia University in New York. He settled in Hackensack, New Jersey, where he lived and had a studio for more than 50 years before moving to Amherst, Massachusetts in 2015. His work, which includes painting, prints and collages, as well as set designs, is in more than 45 museum and public institution collections in the United States, Latin America and Israel. He held more than 40 solo exhibitions at galleries and museums and participated in more than 75 group shows around the globe. He helped found the Taller Libre de Arte, an experimental workshop for the visual arts, sponsored by the Ministry of Education. The Taller Libre de Arte was a center for young artists to work and to meet with critics and intellectuals to discuss avant-garde ideas and artistic trends from Europe and Latin America. Among the notable artists who participated in the Taller Libre de Arte were Ramón Vásquez Brito, Carlos González Bogen, Luis Guevara Moreno, Mateo Manaure, Virgilio Trómpiz...Category
20th Century Modern Figurative Prints
MaterialsLithograph
- Blues, important signed/N lithograph by renowned African American artist FramedBy Elizabeth CatlettLocated in New York, NYElizabeth Catlett Blues, 1983 Color lithograph on cream wove paper Signed, titled, dated and numbered in graphite pencil on the front Printed and published by the Brandywine Workshop...Category
1980s Modern Figurative Prints
MaterialsLithograph, Pencil
- Morning (Carolina Morning)By Romare BeardenLocated in New York, NYA very good impression of this color lithograph on wove paper. Signed and numbered 74/175 in pencil by Bearden. Published by London Arts, Inc., Detroit. Catalogue reference: Gelburg...Category
1970s Modern Figurative Prints
MaterialsColor, Lithograph
- A Maiakovski (For Mayakovsky) signed by Alechinsky & Christine Rochefort #10/50By Pierre AlechinskyLocated in New York, NYPierre Alechinsky A Maiakovski, 1958 (For Mayakovsky) Color lithograph and offset lithograph with text Pencil numbered 10/50 and signed by BOTH artist Pierre Alechinsky and writer C...Category
Mid-20th Century Modern Abstract Prints
MaterialsOffset, Lithograph, Pencil
Recently Viewed
View AllMore Ways To Browse
Le Course
Small Renaissance Prints
Picasso Glass Abstract
Master 1891
Daumier Artist
Rouault Lithographs
Church Key
Daumier Lithographs
Georges Rouault Lithograph
Stained Glass Window Three
Medieval Stained Glass
Honore Daumier Lithographs
Vintage Van Window
Vintage Van Windows
Chagall Workshop
Marquet Albert
Chagall Inspiration
Rouault Exhibition