木版畫 - 帶簽名 - 230 - 1966

Marcelle Cahn: From La Lune en Rodage III

Medium: Woodcut
Material: Paper
Dimensions: 24 x 17.5 cm

Editor: Edition Panderma, Basel
Year: 1920s / published 1966
Edition: This is an unnumbered copy of 230 editions
(65 hors commerce were unnumbered)
Signature: Signed

Provenance:
Edition Panderma, Carl Laszlo, Basel
Galerie von Bartha, Basel
Private Collection, Basel

Condition / Restauration:
mint archival condition

Further Information:

A rare limited edition of the portable collection of post-war and contemporary art La Lune en Rodage III. This is an unnumbered copy of 230 editions (65 hors commerce were unnumbered) and part of the third serie of the La Lune en Rodage books. La Lune en Rodage was published in three volumes in 1960, 1965 and 1977 containing a total of approximately 180 art pieces which provide an account of the artistic avant-garde scene between the 1950s and 1970s. The art works were gathered by Carl Laslzo and included the greatest artists of the time who contributed with important pieces, often marking a turning point in their production and carriers: Enrico Castellani’s work for example is his first documented graphic work and Piero Manzoni's multiple Achrome is the only one produced by the artist.

Biography:

Marcelle Cahn was a French Avant-Garde (1895-1981). Cahn studied literature and philosophy at the University of Strasbourg. At the age of 19, in 1914, Marcelle met Simon Lévy, a young Alsatian painter who introduced her to Vincent van Gogh and Paul Cézanne. The period from 1914 to 1918 is marked by a stay in Berlin where her brother Roger performs his military service. Marcelle took the opportunity to attend the Lewin-Funke-Kunstschule in Charlottenburg where Eugene Spiro (portraits) and Lovis Corinth (nudes) taught at this time. In this city, Marcelle discovers with interest the expressionist artists of the Sturm. In 1920 Marcelle stayed in Paris and took the opportunity to see and review the works of Cezanne which represents for her the summit of modern painting. She also attends Arraujo's studio where she draws, paints and experiments with geometric shapes. Finally, she spent two months at the Académie Ranson and then returned to Strasbourg to continue independently her own research. In 1923 she went to Zurich to study philosophy; those, in particular, of Hans Lipps, Kant specialist. Edvard Munch who resides in the same hotel as Marcelle will never know that she is a painter. In 1925, returning to Paris, Marcelle attended the Académie de la Grande Chaumière and practiced nudes, still lifes, cubist drawings and paintings. Gallerist Léonce Rosenberg is interested in her work and puts her in touch with Fernand Léger and Amédée Ozenfant. She gets in contact with Willi Baumeister, Léopold Survage, Tutundjian, Ossip Zadkine, Suzanne Valadon, Louise Hervieu, Michel Larionov, Natalia Goncharova. In 1926 Marcelle participated in the exhibition of the Société Anonyme at the Brooklyn Museum in New York and at the Salon des Artistes Indépendants. In 1929, Michel Seuphor invited Marcelle Cahn in the group Circle and Square, where she meets Hans Arp, Sophie Taeuber-Arp, Piet Mondrian, Vassily Kandinsky, Georges Vantongerloo, Jean Gorin, Joaquín Torres García, etc.. She exhibited at the Salon des Artistes Independants and, as early as 1948, at the Salon des realités nouvelles. She has also participated in numerous group exhibitions in Germany, Belgium, the United States, Italy and Switzerland. It was the subject in the years 1972-1974 of a traveling exhibition organized by the National Center for Contemporary Art. In France, the following museums own and show her works frequently: Museum of Cambrai, Museum of Art and History of Cholet, Unterlinden Museum of Colmar, Museum of Fine Arts of Dijon, Museum of Grenoble, Palace of Fine Arts Museum, Museum of the Ursulines of Mâcon, the Space of Concrete Art in Mouans-Sartoux.