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Description

PIERRE ALECHINSKY (Brussels, 1927). "Iran & Caspian Sea", 1980-1990. Acrylic on paper adhered to canvas. Signed, dated and titled on the back. Signed on stretcher frame. Attached certificate issued and signed by the artist. Measurements: 108 x 146 cm; 124 x 162 cm (frame). Using as a base a geographical map centered on the area of Iran and the Caspian Sea, Alechinsky unfolds his imaginary and intervenes in it in a simplified way, delimiting certain zones and figuratively "flooding" others. This work belongs to his "marginal observations" series, small vignettes in the margins of the painting that will become a cardinal feature of his production. The series can be understood by taking into account that it comes from a vocabulary related to printing. "Engravers who had to draw with burin or drypoint on a copper plate tested their tool on the margin of the plate; by letting themselves go, they often sketched a small image. For my part, this sometimes explains what is at the center of the work, other times it accompanies it, it takes on more importance...", explains the artist himself. He continues, "The artist is not aware of it at the time, but by framing the central figure with other smaller drawings, he establishes an authentic pictorial device that assumes the limit of the painting and protects it, attracts our gaze and retains it". A lithographer, painter and theorist, Pierre Alechinsky trained at the École Nationale Supérieure d'Architecture et des Arts Décoratifs de la Cambre in Brussels, showing both gifts and interest in illustration and typography. In 1945 he discovered the work of Michaux, Dubuffet and the surrealists, at which time he also became friends with the art critic Jacques Putman. He began painting in 1947, beginning a career that would mix certain characteristics of Expressionism with others of Surrealism, both accompanied by a very personal style. In the late 1940s he met the poet Christian Dotremont, one of the founding members of the CoBrA group (an acronym for Copenhagen, Brussels and Amsterdam), and Alechinsky joined the group in 1949. Along with Alechinsky, the group included Karel Appel, Christian Dotremont and Asger Jorn, among others. He also participated in the group's first international exhibition in Amsterdam and collaborated on canvases with Karel Appel and other members. After the dissolution of CoBrA, Alechinsky moved to Paris, where he experimented with printmaking at the popular Atelier 17. There he met Giacometti, Bram van Velde and Victor Brauner. In 1954 he had his first solo exhibition at the Nina Dausset Gallery in Paris, where he was able to meet the painter Walasse Ting, who was to exert an important influence on him. In 1956 he made "Central Park", an acrylic painting that included "marginal observations", leitmotif in much of his production. The first retrospective of his work took place in 1969, at the Palais des Beaux-Arts in Brussels. In 1966, André Breton chose this piece for the international exhibition of the surrealist movement. His work has been exhibited in Amsterdam, London, the Venice Biennale, New York, etc., and is kept in important private collections and institutions such as the Marion Lefebre Collection in Los Angeles, the Galerie Leolong in Paris, the Museo Centro de Arte Reina Sofía in Madrid, the MoMA, etc.

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PIERRE ALECHINSKY (Brussels, 1927). "Iran & Caspian Sea", 1980-1990. Acrylic on paper adhered to canvas. Signed, dated and titled on the back. Signed on stretcher frame. Attached certificate issued and signed by the artist. Measurements: 108 x 146 cm; 124 x 162 cm (frame). Using as a base a geographical map centered on the area of Iran and the Caspian Sea, Alechinsky unfolds his imaginary and intervenes in it in a simplified way, delimiting certain zones and figuratively "flooding" others. This work belongs to his "marginal observations" series, small vignettes in the margins of the painting that will become a cardinal feature of his production. The series can be understood by taking into account that it comes from a vocabulary related to printing. "Engravers who had to draw with burin or drypoint on a copper plate tested their tool on the margin of the plate; by letting themselves go, they often sketched a small image. For my part, this sometimes explains what is at the center of the work, other times it accompanies it, it takes on more importance...", explains the artist himself. He continues, "The artist is not aware of it at the time, but by framing the central figure with other smaller drawings, he establishes an authentic pictorial device that assumes the limit of the painting and protects it, attracts our gaze and retains it". A lithographer, painter and theorist, Pierre Alechinsky trained at the École Nationale Supérieure d'Architecture et des Arts Décoratifs de la Cambre in Brussels, showing both gifts and interest in illustration and typography. In 1945 he discovered the work of Michaux, Dubuffet and the surrealists, at which time he also became friends with the art critic Jacques Putman. He began painting in 1947, beginning a career that would mix certain characteristics of Expressionism with others of Surrealism, both accompanied by a very personal style. In the late 1940s he met the poet Christian Dotremont, one of the founding members of the CoBrA group (an acronym for Copenhagen, Brussels and Amsterdam), and Alechinsky joined the group in 1949. Along with Alechinsky, the group included Karel Appel, Christian Dotremont and Asger Jorn, among others. He also participated in the group's first international exhibition in Amsterdam and collaborated on canvases with Karel Appel and other members. After the dissolution of CoBrA, Alechinsky moved to Paris, where he experimented with printmaking at the popular Atelier 17. There he met Giacometti, Bram van Velde and Victor Brauner. In 1954 he had his first solo exhibition at the Nina Dausset Gallery in Paris, where he was able to meet the painter Walasse Ting, who was to exert an important influence on him. In 1956 he made "Central Park", an acrylic painting that included "marginal observations", leitmotif in much of his production. The first retrospective of his work took place in 1969, at the Palais des Beaux-Arts in Brussels. In 1966, André Breton chose this piece for the international exhibition of the surrealist movement. His work has been exhibited in Amsterdam, London, the Venice Biennale, New York, etc., and is kept in important private collections and institutions such as the Marion Lefebre Collection in Los Angeles, the Galerie Leolong in Paris, the Museo Centro de Arte Reina Sofía in Madrid, the MoMA, etc.

Estimate 100 000 - 150 000 EUR
Starting price 65 000 EUR

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