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Piet Mondriaan, studio Rue du Départ

Piet Mondriaan was famous for his studios he occupied in Paris and New York and his Paris studio at the Rue du Départ was even a subject for a special exhibition at the Beurs van Berlage who had it rebuild in their main hall in 1994.

With the exhibition they produced together with the Benschop architects an impressive model kit of the studio, which even contains some of the paintings Mondriaan made in this famous studio. During the Nineties some of the DE STIJL icons were produced in Model Kit versions ( Meudon, Rietveldhuis) but this is probably the rarest of them al, since i understand it was not sold, but only presented to the sponsor and its relations. Now for sale at www.ftn-books.com

mondrian depart

 

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a great Corneille cover for Ariel (1970)

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It Must have been in the mid Eighties that i lost all interest in Corneille as an artist. He repeated himself frequently and his art was commercialized by some dutch companies who made the once great art by Corneille mainstream.

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But only a decade before his art had matured . From his Cobra beginnings in the Fifties he developed his art into a personal, recognizable, colorful kind of art where his scenes were crowded with woman and birds. In those days he made several special publications on the occasion of his exhibitions and on 2 of these occasions at the galerie Ariel in Paris special books were published in a limited edition of 750 numbered copies. My guess is that less than a few hundred of these copies have survived , making these even more collectable than his lihographs from those days. One of the Ariel publications from 1970 is now for sale at www.ftn-books.com. This one is numbered 67 and contains 2 large lithographs, making this a true collectable Corneille item.

corneille ariel aa

corneille ariel x

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Claire Bretecher ( 1940-2020 )

Schermafbeelding 2020-02-12 om 09.25.55I have always had an admiration for Claire Bretecher, One of the greats in Seventies French comic art. 2 days ago she died leaving one of the greatest comic series on “women emancipation”.

Claire Bretécher (born April 17, 1940) is a French cartoonist, known particularly for her portrayals of women and gender issues. Her creations include Les Frustrés, and the unimpressed teenager Agrippine.

She was born in Nantes, and got her first break as an illustrator when she was asked to provide the artwork for Le Facteur Rhésus by René Goscinny for L’Os à Moelle in 1963. She went on to work for several popular magazines, and in 1969 invented the character “Cellulite”. In 1972 she joined Gotlib and Mandryka in founding the comics magazine L’Écho des savanes.

Throughout the 1970s and 1980s, she published successful collections, such as The Destiny of Monique (1982). In 2001, her series Agrippine was adapted into a 26 episode TV series by Canal+.

Bibliography

  • Les états d’âme de Cellulite (1972, Dargaud)
  • Salades de saison (1973, Dargaud)
  • Les frustrés (5 albums, 1975–80, Bretecher)
  • Le cordon infernal (1976, Bretecher)
  • Les angoisses de Cellulite (1977, Dargaud)
  • Baratine et Molgaga (1977, Glénat)
  • La vie passionnée de Thérèse Avila (1980, Bretecher)
  • Le destin de Monique (1983, Bretecher)
  • Les Mères (1982, Bretecher)
  • Docteur ventouse, bobologue (2 albums 1985-86, Bretecher/Hyphen)
  • Agrippine (8 albums 1988–2004, Bretecher/Hyphen

 

http://www.ftn-books.com has one title by Bretecher at this moment available:

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Alberto Burri (1915-1995)

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A blog on Burri since i acquired a very MIce 1961 catalogue by Galerie de France on Burri. Numbered 495 from an edition of only 1600 copies and in excellent condition.

Burri i have known for his MATTER paintings. A bit created like the ones Jaap Wagemaker made in the Netherlands. But there is so much mofre . His “paintings” are like three dimensional sculptures and make in some way a bridge to the zero art from a decade later.

He remained a reserved artist, ceaselessly working and creating, initially in a small studio in Via Margutta but frequently moving out. As a matter of fact, Milton Gendel – an American journalist who visited Burri’s studio in 1954 –, later reported: “The studio is thick-walled, whitewashed, neat and ascetic; his work is ‘blood and flesh,’ reddened torn fabric that seems to parallel the staunching of wounds that Burri experienced in wartime.”

Burri’s first solo figurative artworks exhibition took place on 10 July 1947 at the gallery-cum-bookshop La Margherita, in Rome, presented by the poets Leonardo Sinisgalli and Libero De Libero. However, Burri’s artistic production flowed definitively into abstract forms before the end of the same year, the use of small format tempera resulting from the influence of such artists as Jean Dubuffet and Joan Miró, whose studio was visited by Burri during a trip to Paris in the winter of 1948.

In the sixties Burri has had several exhibitions all over Europe and one, in 1961, was at the galerie de France. Who made a beautiful catalogue for it.

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a very special “Libro d’Artista” from 1983 by Hervé di Rosa

It is a rare find to have found this 2 months ago. This is a book which was published during the best years of the “Figuration Libre”. This special artist book was published in an edition of only 1000 copies . I doubt that it was an authorized edition which was published by Fernando Pellegrino and Saverio Perozzi, but there is no doubt about the artistic quality that oozes from the pages. Quick sketching and written text in print, making a complete story on 92 pages.

di rosa libro a

On the cover an auto portrait of Di Rosa and page after page filled with typical Di Rosa art. My guess is that not too many copies will have survived the 36 years of its existence, which makes this one of the most collectable Di Rosa publications and an absolute MUST for the avid “Figuration Libre” collector/ enthousiast.

 

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Hervé Di Rosa (1959)

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Di Rosa is the artist from the LIBERATION LIBRE group who arguably has been influenced the most by the original comic art from the previous French decades in comics. He even published some comics on his own. A bit like Raymond Pettibon also publishes his own comics. In an interview he tells the following to the interviewer:

“The great names in comics have affected me every bit as much as the great painters I love.” Growing up in the 1960s, relatively isolated in Sète on the French Mediterranean coast, Hervé Di Rosa got his culture fix from reproductions of fine art in books and from comics. “I saw no difference between them in scale or validity.” Starting to exhibit his art in 1980, Di Rosa with his brother Richard and Robert Combas drew on their passions for both art and pop culture to pioneer the radical French ‘Figuration Libre’ movement in the 1980s. Unlike most earlier Pop artists, who were not necessarily raised on comics, Di Rosa explains, “I don’t cite comics in a superficial way, I incorporate their techniques into my work.”

Personally i think the works by Di Rosa are too much like comics. I prefer the Combas works with the heavy outlines around his subjects , making his works stand out and recognized instantly. Still the Groninger Museum liked Di Rosa his works so much that they devoted a nice exhibition on Di Roda and published ” LES AVENTURES DE HERVE ET RICHARD ” in 1986. This and other Di Rosa publications are available at www.ftn-books.com

 

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Dora Tuynman (1926-1979)

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On the “outskirts” of the COBRA group she operated like a true Cobra artist. In 1951 she left for Paris and joined the artist at the Rue Santeuil and became friends with Karel Appel and Corneille and somehow got influenced by everything COBRA that surrounded her . in 1997 the NRC wrote about het works that they were still fresh and vivid and compared to some works by her fellow artists never had lost their quality. When you leaf through the book that is now for sale at www.ftn-books.com, one notices that her work is far more abstract than the early COBRA works that were in many cases inspired by children.

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These works by Tuynman are more like the Klee drawings from the Twenties, but put on canvas. The publication was initiated by Mrs. E. Tuynman and published by DE DRIJVENDE DOBBER of Tom Mercuur. A keen publisher who has an eye for the undiscovered talent. The book is now available.

tuynman

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Franco Pinna (1925-1978)

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Without knowing who the photographer was i have encountered , many, many photographs by Pinna in the time i read the PARIS MATCH. Studying french i had to read the language, which meant that i bought weekly the Paris Match. Pinna’s photographs are easily recognizable and have a signature of their own.

He was born in La Maddalena, on July 29, 1925. In 1952 he moved to Rome and, after a brief experience as a cinedocumentary operator, constituted the cooperative Fotografi Associati together with Plinio De Martiis, Caio Mario Garrubba, Nicola Sansone, Pablo Volta, which was dissolved in 1954 due to economic difficulties. He followed the anthropologist Ernesto De Martino during several research expeditions in southern Italy (Lucania, 1952, 1956, 1959, Salento 1959), obtaining documents of great artistic and cultural value. In 1959 he published his first book, entitled La Sila, which was followed by Sardegna una civiltà di pietra (Sardinia, a stone civilization) (1961). Meanwhile, his photos appear in the magazines Life, Stern, Sunday Times, Vogue, Paris Match, Epoca, L’espresso, Panorama. From 1965 Pinna became the trusted photographer of Federico Fellini and made scene photos of his films Giulietta degli spiriti, 1965, up to Fellini’s Casanova in 1976; he also publishes some photo books (I ClownsFellini’s Film) inspired by his films. He died suddenly in Rome on April 2, 1978.

http://www.ftn-books.compinna has a nice italian publication on Pinna available.

 

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Philippe Hiquily (1925-2013)

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I came accross this artist some years ago when i go interested in sculpture from the mid sixties. Chadwick, Jacobson and certainly Alecxander Calder were my heroes, but then there was also Hiquily …….Philippe Hiquily was a French artist and designer known for biomorphic furniture and sculptures. He was able to combine modernist design, insect physiognomy, and human sexuality, to produce unique Surrealist works. Born on March 27, 1925 in Paris, France, he attended the École des Beaux-Arts in Orléans and later the École Supérieure des Beaux Arts in Paris. In Paris, Hiquily mingled with prominent artists, including Jean Tinguely and Germaine Richier. In 1959, he received the Critic’s Prize for his sculpture at the Paris Biennial. That same year, he showed work at New York-based gallery The Contemporaries, where he met the American artist Robert Rauschenberg. Hiquily died on his 88th birthday on March 27, 2013 in Villejuif, France. Today, his works are held in the collections of The Museum of Modern Art in New York, the Centre Georges Pompidou in Paris, and the Museum of Contemporary Art in Montreal.

Now i have finally a very nice publication on Hiquily in my inventory available. Silkscreened cover and very well worth collecting.

hiquily

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Kriki / Christian Vallee (1965)

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Punk, Underground/Metro, music, resistance, grafiti, painting, street art.-

All these words are related to the artist Kriki who made a name for himself in the Paris art scene in the mid Eighties.

In 1984, in Paris, Kriki founds a group of painters called Nuklé-Art and the electro punk group Les Envahisseurs. With the street and the Underground as his art school, he is involved in the beginnings of what is now known as Street Art. Immersed in alternative culture, he is identified from the beginning as one of the emblematic figures amongst the young French painters of the nineteen eighties. Kriki clearly belongs to the generation whose sensibility expressed itself in Free Figurative Art, which he helps to renew. Still very young, he exhibits with Keith Haring, Futura 2000 and even with Basquiat and Wim Delvoye. At just 23 years old, he has his first solo exhibition at FIAC (Paris) which will then move on to the Gramercy Art Fair in New York; this will lead to taking part in the very first exhibitions of his work in now famous Paris galleries such as Jérôme de Noirmont and Kamel Mennour. Kriki at that time becomes well known for a style which becomes immediately identifiable on the international scene, making him into one of the major artists of his generation.

In 1985, Kriki invents Fuzz, a half-robot, half polymorphous fetish, appearing as a virus infecting the history of art, and of which the Museum of Modern Art in Paris will publish a specimen. Kriki manipulates the original images from which his paintings emerge, resisting our initial attempts at a reading in order to express themselves in a universal language. Today, Kriki is still an incarnation of punk culture in French contemporary art, leading Ernest Van Buyender, the Director of the Museum of Contemporary Art in Antwerp to write: “Kriki is the only French artist whose originality and ambition can be seen as a bridge between Sub Culture and High Culture”. http://www.ftn-books.com has one rare Kriki publication available.kriki