Ernst max georges hugnet (6 risultati)
Lingua: Inglese
Editore: The Corcoran Gallery of Art / Abbeville Press Washington / New York, DC / NY, 1985
- Rilegato
Da: Specific Object / David Platzker, New York, NY, U.S.A.Specific Object / David Platzker
Contatta il venditoreVenditore con 5 stelleCondizione: Usato
EUR 67,68
EUR 7,45 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
243 pp.; 31 x 23.8 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Critical theory book about photography & surrealism written by Rosalind Krauss and Jane Livingston, with an essay by Dawn Ades. Artists include Hans Bellmer, Jacques-André Boiffard, Brassaï, Andre Breton, Cl…aude Cahun, Salvador Dali, Marcel Duchamp, Nusch Eluard, Max Ernst, Georges Hugnet, André Kertész, Dora Maar, René Magritte, Léo Malet, Marcel Mariën, E.L.T. Mesens, Lee Miller, Paul Nougé, Roger Parry, Roland Penrose, Man Ray, Frederick Sommer, Maurice Tabard and Raoul Ubac. Includes an index and artist biographies and bibliographies compiled by Winifred Schiffman. Very Good / Fine. Light rubbing and shelf wear to dust-jacket, otherwise Fine. Due to large size and weight additional shipping charges may be required for international orders.
Altre immagini- Brossura
Da: Le Livre à Venir, Chantelle, FranciaLe Livre à Venir
Contatta il venditoreVenditore con 5 stelleCondizione: Usato
EUR 45,00
EUR 40,00 spedizioneSpedito da Francia a U.S.A.Quantità: 1 disponibili
Paris : José Corti, 1980 - un volume 16,4x25cm broché sous couverture illustrée en deux tons (Yves Tanguy), 76 pages sur papier couché abondamment illustrées en noir dans et hors texte - fac-similé de la brochure éditée en 1938 à l'occasion de la quatrième exposition internationale du surréalisme. Près de 400 entrées au dictionn…aire et 115 reproductions d'oeuvres - couverture insolée sinon bon état - Livres.
Editore: Cahiers D'Art, Paris, 1939
- Rilegato
- Firmato
Da: Strand Book Store, ABAA, New York, NY, U.S.A.Strand Book Store, ABAA
Contatta il venditoreVenditore con 4 stelleCondizione: Usato - Molto buono
EUR 992,71
EUR 7,87 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
Hardcover. Condizione: Very Good. LIMITED EDITION. 4to. LIMITED SIGNED EDITIONS, one of 25 copies. All 3 issues of L'Usage de la Parole bound in one volume. SIGNED by Georges Hugnet on versos of all 3 title pages in pencil. Issue #1 cover illustration enhanced in magenta pink by Man Ray. Issue #2 cover illustrated by Max Ernst.…Issue #3 cover illustration by Joan Miro heightened with colored pencil. Issue #3 includes a melody score by Virgil Thomson contained in a red Annonay paper cover with reproduction of a drawing by Picasso and verso of rear cover SIGNED by Hugnet and Virgil Thomson in ink. Lacking Miro etching. T.e.g. Bound in half-leather covers. Tiny chip to upper fore edge of page 13. Slightest offsetting from Picasso cover drawing to adjacent page. Contents otherwise clean and bright. Uneven sun fading to faintly scratched covers with small patches of rubbing to extremities of surface. Wear to fore corners and some scraping to edges of covers. Scraping along joints and some cracking/tearing approx 1/4-inch long to lower joint ends. Light chipping to spine ends and joint ends of covers. Dampstaining to spine head of covers and spot of dampstaining to upper fore corner of rear cover. VG. Author.
Editore: 6 Avril 1934., (Paris)., 1934
- Firmato
Da: Sims Reed Ltd ABA ILAB, London, Regno UnitoSims Reed Ltd ABA ILAB
Contatta il venditoreVenditore con 5 stelleCondizione: Usato
EUR 11.957,76
EUR 22,06 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 1 disponibili
Postcard. (88 x 139 mm). Gelatine silver print in sepia on photograph postcard stock, printed postcard layout verso, the recto with thirteen applied sections of paper to form a collage, verso with 11 applied sections of paper and manuscript text in magenta ink (see below). Loose in original (?) folded sheet of glassine. A superb… original collaborative Surrealist double-sided collage signed by Max Ernst and Georges Hugnet - two of the most remarkable, original and productive practitioners of the technique - and presented to Noel Armand. The collage takes as its basis (recto) a nineteenth-century sepia-toned photograph of a group of men, members of a gymnasium, all wearing dark trousers, boots, white undershirts and braces, posing before a building. Dumbbells and other items of equipment from the gymnasium scattered about serve as the backdrop and props for the 15 figures depicted, each of whom has had a letter, group of letters - upper or lowercase and in various different types - or manicule pasted over their faces to form the title: 'Surréalisme - la machine de vos rêves'. This is an example of an 'analytic' collage, i.e. it is composed of a background image to which additional elements have been added. That the text forms an aphorism that is itself a definition of Surrealism is self-evident. The verso too features collage with images of an empty safe, a mattress, a canopy and other household furnishing in black on magenta or turquoise paper with the individual letters - again in upper or lowercase and in various types - to form the word 'Amitiés'. At upper right is the presentation in magenta ink: 'à Noel Armand / GEORGES HUGNET / 6 Avril 34'; a series of magenta dashes link the presentation and the leters of 'Amitiés' and Max Ernst's signature is at lower right. This is an example of a 'synthetic' collage, i.e. a composition of disparate elements which, in combination, create a new, unified whole. 'Collage is the impoverished relation. For a long time to come its worth will continue to be denied. It passes for being reproducible at will. EVeryone thinks himself capable of creating it. And if painters, through steady will, are able to perpetuate and to exacerbate this ill repute, perhaps they will manage to render that which is known ass foolishness into the expression of reality and makke their works such that they will no longer have any value, absolutely none aat all, for those people who thought they had the right to decorate their walls wih human thought, with living thought.' (Louis Aragon, from 'La Peinture au Défi'). Max Ernst began experiments with collage in the early 1920s and produced a number of books, his collage novels, illustrated with collages beginning with 'Repetitions' and 'Les Malheurs des Immortels' in 1922 and including his important trilogy 'La Femme 100 Têtes' (1929), 'Rêve d'une Fille Qui Voulut Entrer au Carmel' (1930) and 'Une Semaine de Bonté' (1934). Hugnet too experimented throughout his life (beginning in the 1930s) with the collage and photomontage and produced a number of works illustrated with collages ('La Septième Face du De', 'Huit Jours à Trébaumec' and others). Although the Surrealists created 'cadavre exquis' from collage elements with multiple contributors creating a collaborative image, individual collages such as this are rare. Ernst did create collages with others, including Eluard and Hans Bellmer, This collage, signed as it is by both Max Ernst and Georges Hugnet, represents a remarkable Surrealist collaboration and an excellent visual and semantic definition of Surrealism itself. ' . the two majordomos of this highly important area of Surrealist activity are Max Ernst (as great [sic] artist enhanced with extraordinary poetic vision) and the lesser known but distinguished Surrealist poet, with equally superior skills in the world of collage, Georges Hugnet . Concerning Max Ernst, his amazing output as a genius of the art of the collage speaks supremely for itself. Besides his wonderful, endlessly imaginitive treasure trove of single works, he also bestowed upon us the totally magical legacy of his 'collage-novels' . Georges Hugnet is another sort of collagist entirely. He, with a naughty (but very focused) bent on the erotoc side of life, invented in the 1930s the concept of the poème-collage . a collage merging cutout words (of every sort and size), interspersed with images - something that no prior artist had ever understaken.' (Timothy Baum). [see Louis Aragon's 'La Peinture au Défi', Paris, 1930, translated from the French by John Goodman and Molly Stevens; see 'Surrealism: Two Private Eyes', Solomon R. Guggenheim Museum, 1999 (vol. 2, 'Collage', pp. 640 - 719); see 'The Surrealist Collage - Where Dreams and Reality Meet', New York, 2025, pg. 11].
Altre immaginiMax Ernst. Oeuvres de 1919 à 1936.
COLLECTIF - Textes de Max Ernst, André Breton, Paul Eluard, Benjamin Péret, Joe Bousquet, Jacques Viot, René Crevel, Georges Hugnet, Louis Aragon, Tristan Tzara et Robert Desnos
Da: Librairie-Bouquinerie Le Père Pénard, Lyon, FranciaLibrairie-Bouquinerie Le Père Pénard
Contatta il venditoreVenditore con 5 stelleCondizione: Usato
EUR 105,00
EUR 48,00 spedizioneSpedito da Francia a U.S.A.Quantità: 1 disponibili
Editions "Cahiers d'Art", Paris - 1937 - In-4 broché, couverture rempliée illustrée, sous jaquette rhodoïd -118 pages - Nombreuses illustrations en N&B, in et hors texte, dans l'ouvrage Dos fendu avec manque de matière - Couverture et feuillets en cours de désolidarisation (ouvrage non compact) - Bien complet.
Da: Chloé et Denis Ozanne, Paris, FranciaChloé et Denis Ozanne
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Discreto
EUR 120,00
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Condizione: Moyen. Paris, Editions Surréalistes, août1935, 246x157mm, 16p., agrafé sous couverture imprimée.Déclaration collective signée par André Breton, Salvador Dali, Oscar Dominguez, Max Ernst, Marcel Fourrier, Maurice Heine, Maurice Henry, Georges Hugnet, Sylvain Itkine, Marcel Jean, Dora Maar, René Magritte, Léo Malet, Ma…rie-Louise Mayoux, Jehan Mayoux, E.-L.-T. Mesens, Paul Nouge, Méret Oppenheim, Henri Parisot, Benjamin Peret, Man Ray, Maurice Singer, André Souris, Yves Tanguy, Robert Valançay.Ce texte marque la rupture du groupe surréaliste et des communistes et Breton s'oppose dès lors énergiquement à la dérive totalitaire du stalinisme.Dos fendu couverture brunie, petits manques en couverture. (104509).
