How the Surrealist Movement Shaped the Course of Art History
Each signed in pencil and inscribed 'Pour Claudine L.', also signed in ink on the justification page by Jean Laude and inscribed 'Exemplaire de Claudine Laude 'L'amour nous serre dans la meme statue'', one of six recorded hors commerce examples aside from the edition of 41, printed by L'Atelier 17, published by Les Presses Littéraires de France, Paris, contained in the original collaged paper wrappers and blue paper-covered boards (2 prints).
plate: 172 by 135 mm 6 3/4 by 5 1/3 in
overall: 274 by 215 by 24 mm 10 3/4 by 8 1/2 in
A glimpse of Giorgio de Chirico’s painting Child’s Skull (1914) through a gallery window so profoundly affected Yves Tanguy, it prompted him to pick up a paintbrush. Self-taught, he befriended and drew inspiration from André Breton (and later Alexander Calder), joining the Surrealist movement and consistently representing one of the purest strains of the style. Initially, his love of nature, especially the sea, led Tanguy to paint hazy sea creatures and aquatic vegetation, yet he is best known for his sparse, abstract landscapes populated by biomorphic shapes and painted in somber hues. Though often horizonless, some of his landscapes hint at the rocky coast of his native Brittany, with its Neolithic structures, and at geological formations encountered on trips to Tunisia and the American Southwest. Solemnity permeates his work, in contrast to the playfulness expressed by many of his fellow Surrealists.
French, 1900-1955, Paris, France