Moore Henry

La Poésie - Les Poètes

Art et Poésie, Paris, 1976.

In-folio (470 x 390), en feuilles, sous couverture blanche rempliée et illustrée de la première lithographie monogrammée, chemise et étui imprimés en lithographie.12 lithographies en couleurs dont 10 sont monogrammées au crayon. Edition à 150 exemplaires sur Vélin d'Arches Pur Chiffon signés par l'artiste sur l'Achevé d'Imprimer. Imprimé par Curwen Studios, Londres. Cramer 312-13, 315, 317-325.


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Référence : 5292

8 000,00 €

 
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L'idée de départ de ce portfolio était d'illustrer un choix de textes établi par Georges Pompidou. Moore se trouvait alors confronté au problème de faire correspondre ses illustrations à des citations. Par chance les textes tardèrent à arriver ce qui permit à l'artiste de produire ses illustrations sans se soucier des textes. Il sélectionna alors des thèmes qui lui étaient familiers. Travailler avec Stanley Jones des Studios Carven l'a amené à utiliser de nouvelles techniques : les films transparents, les encres semi-opaques et la lumière ultraviolette pour insoler les pierres. Chaque illustration est le résultat d'une superposition de films.

In-folio (470 x 390), loose in sheets in original printed paper covered boards and matching slip-case. Twelve lithographs, comprising ten lithographs printed in colors, each initialled in pencil, with title-page, text and justification, this copy signed in pencil, numbered on Arches paper, with full margins. From an edition of 150 copies this one number 96. Printed by Curwen Studio, London. (Cramer 312- 325)
The idea behind this portfolio was to illustrate a group of French poets chosen by the French President, Georges Pompidou. Moore was again faced with the problem of relating his illustrations to literary quotations. Luckily for the artist the texts were later in arriving so he went ahead producing the images he wanted with no references to or worries about the accompanying words. He selected familiar themes: ideas for sculpture, stone forms, standing and reclining figures, giving them a spacious almost dreamlike quality. Working with Stanley Jones of the Curwen Studios, Moore developed a new technical process for lithography. Known as diazo lithographs, they were made by drawing onto a thin transparent film with black lithographic ink or some other semi-opaque liquid and then transferring the image to the plate by ultra-violet light; the strength of the image depended on the length of exposure, thereby allowing the image to be made up of a series of tonal layers from one original. For a print such as Ideas from a Sketchbook Moore drew two films, one for the background and another for the figures. Both films were exposed twice to make four plates. After proofing each plate in monochrome Moore decided on a color range and the printer provided color proofs in order to obtain a bon à tirer (the final approved work before the edition is printed). In this case the background was edited in ochre and light ochre and the figure in grey and brown - a four colors lithograph from four plates.

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