Unique 1930s BRASSAI Vintage Photogravure \"Studio Aristide Maillol\" Framed COA

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Unique 1930s BRASSAI Vintage Photogravure \"Studio Aristide Maillol\" Framed COA:
$94.50

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Artist:Brassai (Hungarian–French, 1899-1984)
Title:Aristide Maillol\'s Studio III
Medium:Antique Photogravure
Dimensions: Image size 5 5/8 x 8 1/4inches.
Framed dimensions: Approximately 15 x 17 inches.
Framing: This piece has been professionally matted and framed using all new materials.

Additional notes:
Antique photogravures have a silvery sheen that makes them seem to be almost \"silky\". This sheen gives the prints a truly vintage feel.
Extra Information:
Aristide Joseph Bonaventure Maillol (1861 – 1944) was a French sculptor, painter, and printmaker. Maillol was born in Banyuls-sur-Mer, Roussillon. He decided at an early age to become a painter, and moved to Paris in 1881 to study art. After several applications and several years of living with poverty, his enrollment in the École des Beaux-Arts was accepted in 1885, and he studied there under Jean-Léon Gérôme and Alexandre Cabanel. His early paintings show the influence of his contemporaries Pierre Puvis de Chavannes and Paul Gauguin. Gauguin encouraged his growing interest in decorative art, an interest that led Maillol to take up tapestry design. In 1893 Maillol opened a tapestry workshop in Banyuls, producing works whose high technical and aesthetic quality gained him recognition for renewing this art form in France. He began making small terracotta sculptures in 1895, and within a few years his concentration on sculpture led to the abandonment of his work in tapestry. Maillol, The River, bronze, 1938-1943, (displayed in Barcelona) in 2009 In July 1896, Maillol married Clotilde Narcis, one of his employees at his tapestry workshop. Their only son, Lucian, was born that October. Maillol’s first major sculpture, A Seated Woman, was modeled after his wife. The first version (in the Museum of Modern Art, New York) was completed in 1902, and renamed La Méditerranée. Maillol, believing that \"art does not lie in the copying of nature\", produced a second, less naturalistic version in 1905. In 1902, the art dealer Ambroise Vollard provided Maillol with his first exhibition. Air cast 1938, Kröller-Müller Museum The subject of nearly all of Maillol\'s mature work is the female body, treated with a classical emphasis on stable forms. The figurative style of his large bronzes is perceived as an important precursor to the greater simplifications of Henry Moore, and his serene classicism set a standard for European (and American) figure sculpture until the end of World War II. Josep Pla said of Maillol, \"These archaic ideas, Greek, were the great novelty Maillol brought into the tendency of modern sculpture. What you need to love from the ancients is not the antiquity, it is the sense of permanent, renewed novelty, that is due to the nature and reason.\" His important public commissions include a 1912 commission for a monument to Cézanne, as well as numerous war memorials commissioned after World War I. Maillol served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal (1919–1954) a grant awarded to painters, sculptors, decorators, engravers, writers, and musicians. He made a series of woodcut illustrations for an edition of Vergil\'s Eclogues published by Harry Graf Kessler in 1926–27. He also illustrated Daphnis and Chloe by Longus (1937) and Chansons pour elle by Paul Verlaine (1939). He died in Banyuls at the age of eighty-three, in an automobile accident. While driving home during a thunderstorm, the car in which he was a passenger skidded off the road and rolled over. A large collection of Maillol\'s work is maintained at the Musée Maillol in Paris, which was established by Dina Vierny, Maillol\'s model and platonic companion during the last 10 years of his life. His home a few kilometers outside Banyuls, also the site of his final resting place, has been turned into a museum where a number of his works and sketches are displayed. Three of his bronzes grace the grand staircase of the Metropolitan Opera House in New York City: Summer (1910–11), Venus Without Arms (1920), and Kneeling Woman: Monument to Debussy (1950–55). The third is the artist\'s only reference to music, created for a monument at Saint-Germain-en-Laye, Claude Debussy\'s birthplace.

Artist Biography:
Brassaï (pseudonym of Gyula Halász) was a Hungarian–French photographer, sculptor, writer, and filmmaker who rose to international fame in France in the 20th century. He was one of the numerous Hungarian artists who flourished in Paris beginning between the World Wars. In the early 21st century, the discovery of more than 200 letters and hundreds of drawings and other items from the period 1940–1984 has provided scholars with material for understanding his later life and career. Gyula (Julius) Halász Brassaï (pseudonym) was born at 9 September 1899 in Brasov, Romania to an Armenian mother and a Hungarian father. He grew up speaking Hungarian and Romanian. When he was three, his family lived in Paris for a year, while his father, a professor of French literature, taught at the Sorbonne. As a young man, Gyula Halász studied painting and sculpture at the Hungarian Academy of Fine Arts (Magyar Képzőművészeti Egyetem) in Budapest. He joined a cavalry regiment of the Austro-Hungarian army, where he served until the end of the First World War. He cited Henri de Toulouse-Lautrec as an artistic influence. In 1920, Halász went to Berlin, where he worked as a journalist for the Hungarian papers Keleti and Napkelet. He started studies at the Berlin-Charlottenburg Academy of Fine Arts (Hochschule für Bildende Künste), now Universität der Künste Berlin. There he became friends with several older Hungarian artists and writers, including the painters Lajos Tihanyi and Bertalan Pór, and the writer György Bölöni, each of whom later moved to Paris and became part of the Hungarian circle. In 1924, Halasz moved to Paris to live, where he would stay for the rest of his life. To learn the French language, he began teaching himself by reading the works of Marcel Proust. Living among the gathering of young artists in the Montparnasse quarter, he took a job as a journalist. He soon became friends with the American writer Henry Miller, and the French writers Léon-Paul Fargue and Jacques Prévert. In the late 1920s, he lived in the same hotel as Tihanyi. Miller later played down Brassai\'s claims of friendship. In 1976 he wrote of Brassai: \"Fred [Perles] and I used to steer shy of him - he bored us.\" Miller added that the biography Brassai had written of him was typically \"padded\", \"full of factual errors, full of suppositions, rumors, documents he filched which are largely false or give a false impression.\" Halász\'s job and his love of the city, whose streets he often wandered late at night, led to photography. He first used it to supplement some of his articles for more money, but rapidly explored the city through this medium, in which he was tutored by his fellow Hungarian André Kertész. He later wrote that he used photography \"in order to capture the beauty of streets and gardens in the rain and fog, and to capture Paris by night.\" Using the name of his birthplace, Gyula Halász went by the pseudonym \"Brassaï,\" which means \"from Brasso.\" Brassaï captured the essence of the city in his photographs, published as his first collection in the 1933 book entitled Paris de nuit (Paris by Night). His book gained great success, resulting in being called \"the eye of Paris\" in an essay by his friend Henry Miller. In addition to photos of the seedier side of Paris, Brassai portrayed scenes from the life of the city\'s high society, its intellectuals, its ballet, and the grand operas. He had been befriended by a French family who gave him access to the upper classes. Brassai photographed many of his artist friends, including Salvador Dalí, Pablo Picasso, Henri Matisse, Alberto Giacometti, and several of the prominent writers of his time, such as Jean Genet and Henri Michaux. Young Hungarian artists continued to arrive in Paris through the 1930s and the Hungarian circle absorbed most of them. Kertèsz immigrated to New York in 1936. Brassai befriended many of the new arrivals, including Ervin Marton, a nephew of Tihanyi, whom he had been friends with since 1920. Marton developed his own reputation in street photography in the 1940s and 1950s. Brassaï continued to earn a living with commercial work, also taking photographs for the United States magazine Harper\'s Bazaar. He was a founding member of the Rapho agency, created in Paris by Charles Rado in 1933. Brassaï\'s photographs brought him international fame. In 1948, he had a one-man show in the [United States] at the Museum of Modern Art (MOMA) in New York City, which traveled to the George Eastman House in Rochester, New York; and the Art Institute of Chicago, Illinois. MOMA exhibited more of Brassai\'s works in 1953, 1956, and 1968. He was presented at the Rencontres d\'Arles festival (France) in 1970 (screening at the Théâtre Antique, \"Brassaï\" by Jean-Marie Drot), in 1972 (screening \"Brassaï si, Vominino\" by René Burri), and in 1974 (as guest of honor). In 1948, Brassaï married Gilberte Boyer, a French woman. She worked with him in supporting his photography. In 1949, he became a naturalized French citizen after years of being stateless.

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Framing Any framing included in a listing is double matted and framed in a solid wood moulding. We can also frame any pieces not listed as such. Please contact us for pricing. We are usually half the price of a regular framer. Shipping Packages are shipped the next business day after confirmed payment is received. If you are making multiple purchases, please request an invoice so that we may combine shipping charges for you. Guarantee We guarantee all our listings to be 100% as described Returns Returns are accepted up to fourteen days after receiving your purchase. Buyer accepts responsibility for any additional shipping charges.

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Unique 1930s BRASSAI Vintage Photogravure \"Studio Aristide Maillol\" Framed COA:
$94.50