2020年1月10日 星期五

Wassily Kandinsky 與 Alexandre Kojève 互通一封信 L'ART D'AUJOURD'HUI.

[Revue]
L'ART D'AUJOURD'HUI. PARIS, ALBERT MORANCÉ, 1924-1929.
7 volumes in-4, (277 x 228 mm), en feuilles, sous chemise d'édition à dos de percaline verte et étui-boîtes de toile beige.

Tirage à 105 exemplaires sur vélin d'Arches, celui-ci un des 5 marqués de A à E. Notre exemplaire est complet de toutes les planches et des estampes signées de l'édition de luxe, celles-ci toutes justifiées : A ou A/E.
Il s'agit de l'exemplaire nominatif d'Albert Morancé. Cet éditeur d’art, installé à Paris, dans les années 1920, était spécialisé dans les beaux-arts et l’architecture. Ses collections comprenaient notamment les "Cahiers de l'encyclopédie d'architecture".
Vol. 1, printemps & été 1924 : Dunoyer de Segonzac par Christian Zervos ; Despiau par François Tosca ; Picasso par Maurice Raynal ; Charles Dufresne par Charles Vildrac ; La méthode et la leçon de Géricault par Louis Vauxcelles ; Henri Matisse par Philippe Marcel.
Lithographie originale d'Henri Matisse et eau-forte originale de Laboureur.

Vol. 2, automne & hiver 1924 : Maurice Utrillo par Maurice Raynal ; Henri Laurens par Christian Zervos ; Marie Laurencin par J.-E. Laboureur ; Luc-Albert Moreau par Claude Roger-Marx ; Marc Chagall par Christian Zervos.
Eaux-fortes originales de Marc Chagall et Dunoyer de Segonzac.

Vol. 3, année 1925 : Raoul Dufy par Roger Allard ; Chana Orloff par André Salmon ; Frans Masereel par Jacques Mesnil ; Georges Braque par Bissière ; Mateo Hernández par Jean Cassou ; D. Galanis par Marcel Arland ; Aristide Maillol par Christian Zervos ; Hommages à Maillol ; Marie Laurencin par Roger Allard ; Henry de Waroquier par Georges Duhamel ; Quantités et qualité par Élie Faure.
Eaux-fortes originales de Raoul Dufy et D. Galanis, et lithographies originales d'Aristide Maillol et Marie Laurencin.

Vol. 4, année 1926 : Maurice de Vlaminck par Georges Duhamel ; Léopold-Lévy par E. Tériade ; Pascin par André Warnod ; Jacques Lipchitz par André Salmon ; Jean Marchand par Robert Rey ; Kisling par E. Tériade ; Jean Lurçat par Henri Achel ; Louis Marcoussis par Jean Lurçat ; Michel Tombros par André Salmon ; E.O. Friesz par E. Tériade ; Pablo Gargallo par E. Tériade ; Ozenfant par Christian Zervos.
Pointes-sèches de Maurice de Vlaminck et Henri de Waroquer, eaux-fortes originales de Jean Marchand et Léopold-Lévy.
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Charles Georges Dufresne
Charles Georges Dufresne-Noyon-1917.jpg
Noyon, painting by Dufresen, 1917
Born23 November, 1876
Millemont, France
Died8 August, 1936
La Seyne-sur-Mer, France
NationalityFrench
EducationÉcole nationale supérieure des Beaux-Arts, Paris
Known forPainter, draughtsman, sculptor and print-maker
MovementOrientalist
Georges-Charles Dufresne (23 November 1876, Millemont - 8 August 1938, La Seyne-sur-Mer) was a French painter, engraver, sculptor and decorator.

Biography[edit]

He came from a family of sailors and fishermen that originated in Granville. He left school to study engraving, then went to Paris, where he enrolled at the École nationale supérieure des Beaux-Arts and found a position in the workshops of Hubert Ponscarme [fr]. Later, he became an assistant to the sculptor and medalist, Alexandre Charpentier.
He was more attracted to painting, however, and began making pastels at Café-chantants and circuses and guinguettes, in the manner of Toulouse-Lautrec. His first exhibition came at the Salon of the Société Nationale des Beaux-Arts in 1903. Following that, he and his close friend, the American engraver Herbert Lespinasse (1884-1972), went on an extended trip to Italy and stayed at the Villa Médicis. In 1908, he spent some working in Brittany at the invitation of Jean Frélaut [fr].
Patio in Algiers
In 1910, he was one of the winners of the Abd-el-Tif prize and spent two years at the Villa Abd-el-Tif in Algiers, where he turned from pastels to oil painting. After returning, he opened a studio and produced numerous Orientalist works.
He was mobilized at the beginning of World War I. After being gassed, he was transferred to the Section de Camouflage, under the command of an old acquaintance, the painter André Dunoyer de Segonzac. During this time, he managed to paint some Cubist scenes of the war.
The Concert
In 1921, Jacques Rouché, Director of the Opéra de Paris, commissioned him to design sets for Antar, a ballet by Henri Caïn with music by Gabriel Dupont. Two years later, he was one of the founders of the Salon des Tuileries. Between 1921 and 1923, on a commission from Louis Süe and André Mare (whom he had met while in the camouflage section), he created tapestry designs on the theme of Paul et Virginie, for use as Art Deco furniture coverings. The completed ensemble, using new weaving techniques, was presented at the International Exhibition of Modern Decorative and Industrial Arts in 1925.
In the late 1920s, he became a teacher at the "Académie scandinave [fr]", an art school established with Scandinavian patronage that operated from 1919 to 1935. In 1936, he created more tapestry designs for the Mobilier National. That same year, he painted decorations in the foyer of the Palais de Chaillot. His last commission, completed just before his death, involved five large murals for the "Faculté de pharmacie de Paris [fr]", a division of Paris Descartes University. A major retrospective of his work was presented at the Venice Biennale shortly after his death.
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André Dunoyer de Segonzac, 1911, Les Boxeurs (The Boxers), location unknown, presumed destroyed by the artist. Black and white reproduction in Huntly Carter, The new spirit in drama & art, 1913[1]
André Dunoyer de Segonzac (7 July 1884 – 17 September 1974) was a French painter and graphic artist.

Contents

Adolescent Girl, bronze in the National Gallery of Art
Charles Despiau (November 4, 1874 – October 30, 1946) was a French sculptor.

Early life[edit]

Charles-Albert Despiau was born at Mont-de-Marsan, Landes and attended first the École des Arts Décoratifs and later the École nationale supérieure des Beaux-Arts. He began exhibiting at the Salon des Artistes Français, from 1898 to 1900; then at the less academic Société Nationale des Beaux-Arts, where he showed from 1901 to 1921, and finally to the Salon des Tuileries, where he exhibited from 1923 to 1944.

Career[edit]

Recumbent Male Nude by Despiau at The Metropolitan Museum of Art





















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[Review]
THE ART OF TODAY. PARIS, ALBERT MORANCÉ, 1924-1929.
7 volumes in-4, (277 x 228 mm), in sheets, in an edition shirt on the back of green percaline and box case of beige canvas.

Edition of 105 copies on Arches vellum, this one of the 5 marked from A to E. Our copy is complete with all the plates and signed prints of the luxury edition, these all justified: A or A / E.
It is the nominative copy of Albert Morancé. This art publisher, based in Paris in the 1920s, specialized in fine arts and architecture. Its collections included in particular the "Notebooks of the encyclopedia of architecture".

Flight. 1, spring & summer 1924:
Dunoyer de Segonzac by Christian Zervos;
Despiau by François Tosca;
 Picasso by Maurice Raynal;
Charles Dufresne by Charles Vildrac;
Géricault's method and lesson by Louis Vauxcelles;
Henri Matisse by Philippe Marcel.
Original lithograph by Henri Matisse and original etching by Laboureur.

Flight. 2, autumn & winter 1924: Maurice Utrillo by Maurice Raynal; Henri Laurens by Christian Zervos; Marie Laurencin by J.-E. Plowman; Luc-Albert Moreau by Claude Roger-Marx; Marc Chagall by Christian Zervos.
Original etchings by Marc Chagall and Dunoyer de Segonzac.

Flight. 3, year 1925: Raoul Dufy by Roger Allard; Chana Orloff by André Salmon; Frans Masereel by Jacques Mesnil; Georges Braque by Bissière; Mateo Hernández by Jean Cassou; D. Galanis by Marcel Arland; Aristide Maillol by Christian Zervos; Tributes to Maillol; Marie Laurencin by Roger Allard; Henry de Waroquier by Georges Duhamel; Quantities and quality by Élie Faure.
Original etchings by Raoul Dufy and D. Galanis, and original lithographs by Aristide Maillol and Marie Laurencin.

Flight. 4, year 1926: Maurice de Vlaminck by Georges Duhamel; Léopold-Lévy by E. Tériade; Pascin by André Warnod; Jacques Lipchitz by André Salmon; Jean Marchand by Robert Rey; Kisling by E. Tériade; Jean Lurçat by Henri Achel; Louis Marcoussis by Jean Lurçat; Michel Tombros by André Salmon; E.O. Friesz by E. Tériade; Pablo Gargallo by E. Tériade; Ozenfant by Christian Zervos.
Pointes-sèches by Maurice de Vlaminck and Henri de Waroquer, original etchings by Jean Marchand and Léopold-Lévy.

***


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Wassily Kandinsky / Alexandre Kojève
Alexandre Kojève (1902–68) was one of the key figures of twentieth-century philosophy. He is most widely known for his lectures on Hegel, Introduction to the Reading of Hegel, which shaped a generation of French intellectuals. Other titles in English include 'Outline of a Phenomenology of Right' and 'The Concept, Time, and Discourse'.
He was Wassily Kandinsky's nephew.
A letter exchange between Kojève and Wassily Kandinsky:
(texts translated from Russian by Nina Ivanoff, Les Cahiers du Musée National d’Art Moderne, Special Issue Archives, 1992, pp. 160-163)

KOJÈVE À KANDINSKY
Boulogne, le 20/IX/31
Dear Uncle Vassia,
I received your seven watercolours in perfect condition. I will deliver them personally at the beginning of the month of October [to the Galerie de France] to avoid any misunderstanding.
I opened the parcel immediately and was struck by the painting (n°432, 1931) “Fleckig”. I think it is one of your best works (watercolours). Once again something completely new. I can’t explain at this moment what constitutes this newness, but one can feel it immediately. Exteriorly, this painting manifests itself by a certain absence of rectilinear geometry in the figures. One gets the impression that the “creative impetus” finds itself cramped in the presence of forms that have been created before and become rigid in their traditionalism – this impetus explodes them from the inside – the colour spills out of the drawing. To the violence of this creative force correspond the vivid and succulent, almost vulgar colours. At first glance, this painting struck me by its definite relation with certain works of Picasso. Afterwards, I realised that this “resemblance” is based in fact on the force, the frankness and intensity of the painting’s content. This is so typical of Picasso’s works (real and serious). Each time, I am astonished by your capacity to continually discover new forms for your painting. In this, only Picasso could compare himself with you. But unlike him, you never allow yourself the role of ham actor. Yes, in your paintings, there is more tact, more good taste and intelligence and perhaps also skill. Nevertheless, this great quality sometimes becomes a flaw as well; often, and sometimes also with justification, you are reproached for being too concerned with reason. I myself think that some of your works are more illustrations of your theory of painting than they are spontaneous paintings. In this you resemble Leonardo da Vinci.
As far as the other paintings are concerned, they are certainly beautiful. It is true art, like all that you do. But, in my opinion, they are overshadowed by painting n°432. They are all endowed with a traditional structure. Even though you have created it yourself, it is already rigid. One gets the impression that it has not come organically from the artistic content of the painting, but that it replaces this content. The painting resembles in this case a combination (quite remarkable and fine, but without genius) of pre-fabricated forms. And it is not by chance that some of these paintings resemble the watercolours of Klee, of this master of Kleinkunst and of all sorts of “virtuosities”. This is not, of course, a reproach, since no painter can maintain in all his works the highest level of his creative force and spontaneity (even Rembrandt who comes the closest to this ideal did not accomplish it entirely). And you merit this reproach less than anyone. But I wanted to remark on the difference between n°432 and the six other paintings …


KANDINSKY À KOJÈVE
Dessau, Stresemann Allee 6
Le 11/X/31
Thank you very much for the watercolours and the letters that you sent for me to Berne. I have already written to you that because of the current conditions in Germany, I cannot correspond directly with my Swiss bank. I am therefore obliged to disturb you.
I want to ask you another favour. I was hoping to obtain a book published in Paris through a local bookshop, but without success: the French do not ship to foreign countries. I thought I would buy it myself when I came to Paris, but as you know we didn’t go. This book is indispensable for my teaching. Perhaps you will have the opportunity to pass by the rue Vavin. If you do, please go to Ortet-Roussel, 1 rue Vavin and ask them to send me immediately the first volume of “L’Art aujourd’hui” (Art Today) by carriage forward. If this is not possible, perhaps you could pay for it yourself and let me know how much it cost you. I will reimburse you immediately. I would be extremely grateful to you. I’ve been trying to obtain this book for over a year already.
I found your “criticism” of my watercolours very interesting; you have a very fine sense of perception, this doesn’t happen very often with people who have “thinking heads” which is why I particularly appreciate it. In this you distinguish yourself from “non thinking” people and above all those without sensitivity: these people see no life and not even an artistic sense in my austere works whereas you keep a place for them due to my “past” (as you say). You said: “they were living but they have already started to become rigid”, this is why [...] enough of them. I don’t know, maybe it will be like that. But until now, when I paint things so serious, everything in me is strained to the limit. Here I need a very great inner impetus: the character, the size, and the place of each of these austere forms defines itself each time according to an “inner dictation”, a sort of “vision” and I, I have the impression that such an impetus is not only necessary but also impossible in the case where the forms are rigid.
Many people say that my austere works are also cold. There are Chinese pastries that are hot on the outside (when taken straight from the oven) while inside, there is ice cream. My austere works are like these Chinese pastries but the inverse: cold on the outside, flaming hot on the inside.
So this is my self-defence. Write to me and tell me with total frankness what you think of my work.
Perhaps we will see you in Paris at Christmas. Maybe even before in Germany? In Dessau? That would be nice.
I embrace you and Nina send you her regards.
Your Kandinsky


Alexandre Kojève
Photographer and date unknown

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