Pierre Alechinsky Figurative Prints

Linolog I et Linolog II is a Linocut print realized by the Artists Pierre Alechinsky and Christian Dotremont in 1972. Hand signed "Alechinsky" and Monogrammed on the right margin "Logogramme marginal: Dotremont", "Lino"Alechinsky". Numbered on the left corner es. 85/300. Edition from Jacques Putman pour Prisunic, Paris 1972 The artwork is depicted in a well-balanced composition. Good conditions. Pierre Alechinsky (1927) is a Belgian Contemporary Artist . In 1945, Alechinsky discovered the work of Michaux, Dubuffet, surrealists and became friend with the art critic Jacques Putman. His first personal exhibition is organized in 1947. He met Dotremont in 1949 and adhered to the movement CoBrA this same year (Asger Jorn, Karel Appel); he was one of the most active members until the CoBrA's dissolution in 1951. Alechinsky participated in the first International Exhibition of CoBrA at the Stedjelijk Museum in Amsterdam. In the 50’s the artist stayed in The Far East, then in The United States; he was interested in the Japanese calligraphy and in the Action Painting. In 1983, Alechinsky becomes a painting teacher in Paris at the Ecole Supérieure des Beaux Arts de Paris. Since The 80’s , the artist goes on his graphic art on a big variety of supports. Exhibition and International retrospectives celebrate him, all over the world museums and galleries welcome his work. Christian Dotremont (1922-1979) is a Belgian painter and poet and was a founding member of the Revolutionary Surrealist Group (1946). He became involved with the Surrealist movement with the aim to reveal the many facets of art. He was also one of the founders of CoBrA together with Danish artist Asger Jorn. Dotremont caused the most important scandal to hit CoBrA; at the group’s exhibition at the Stedelijk Museum in Amsterdam he hijacked the attention by making a lengthy political speech...

Le Soleil is an Etching realized by Pierre Alechinsky in the 1970s. Hand signed on the right margin and numbered on the left corner es. 200/300 The artwork is depicted in a well-ba...

Untitled is an Woodcut print realized by Pierre Alechinsky in 1970. Hand signed on the right margin and numbered on the left corner es. 102/300 The artwork is depicted through stro...

Pierre Alechinsky (born 1927) Belgian artist. (painting and graphic print-making) He has lived and worked in France since 1951. His work is related to Tachisme, Abstract expressioni...

Pierre Alechinsky - Mai 68 Original French Poster - Mai 68 Tchou Editions, Paris, printed in 1968. Dimensions: 48 x 32.5 cm Paris, May 1968: The revolution that never was Even without retrieving that bundle of yellowing French newspapers from the top shelf in a closet, it is easy to remember the night of May 10, 1968, in Paris. It is far less easy, 40 years later, to discern what it was all about. Adolescent hormones, the death of communism, the death of capitalism or, as André Malraux suggested at the time, the death of God? Malraux, the writer and politician and the French culture minister at the time, may have been alone in invoking God's death as an explanation, but no one doubted that May 10 provoked an entire society to a rare assessment - call it an examination of conscience, if you will - of its fundamental values. A week earlier, the police had been called in to occupy the Sorbonne, and Paris began to witness daily student marches, usually culminating in skirmishes between students throwing stones and the police firing tear gas. By May 10, the number of student demonstrators was estimated at 20,000. At every street leading to the Sorbonne, they found their way blocked by vans and ranks of riot police. This time, the students did not disperse. As darkness fell, they began prying up cobblestones, ransacking building sites and turning over parked cars to construct their own barricades facing the police ones. For hours, the silent inner ring of police barricades stretching around much of the Latin Quarter stood surrounded by a noisy outer ring of student barricades. At 2:15 a.m., the police got the order to assault the student barricades. As the interior minister said, "The streets have to be clear for traffic." Continue reading the main story It took three hours of brutal fighting to do that: clouds of tear gas, Molotov cocktails, exploding automobile gas tanks, cobblestones hurled at the police, students chased down and beaten, more than 300 people injured but fortunately no gunfire - and no deaths. When the radio reported a fire on Rue Gay-Lussac that fire trucks could not reach because of the street fighting and barricades, two young Americans living nearby began deciding what to take with them in case of urban conflagration: 1) the 2-year-old daughter; 2) passports and money; 3) the notes for the dissertation. After that, it didn't matter. France woke up shocked. So, presumably, did President Charles de Gaulle, who had gone to bed early. Events accelerated. The left mounted a huge march of solidarity with the students, who reoccupied the Sorbonne. Workers began occupying their factories. Within another week, France was closed down by the general strike that revolutionaries had always dreamed of. The story, of course, did not end in revolution, for which few people over 30 really had any stomach anyway. On May 30, de Gaulle put his foot down. He addressed the nation briefly on the radio. He announced new elections and hinted at using military means to restore order. A deftly prepared demonstration immediately flooded the Champs-Élysées with hundreds of thousands of citizens previously maintaining a low profile. Newsletter Sign UpContinue reading the main story The Interpreter Newsletter Understand the world with sharp insight and commentary on the major news stories of the week. You agree to receive occasional updates and special offers for The New York Times's products and services. May passed into June. Workers and students won some changes. The elections swept de Gaulle and his supporters back into power. Was it all merely a spring rainstorm? Hardly. For two astonishing weeks in May, an entire nation had been caught up in a frenzy of self-examination. Committees were formed to restructure secondary schooling, the university, the film industry, the theater, the news media. Everyone was a talking head. What the talking heads were talking about were ideas spawned by a crazy array of leftist groups: revisionist socialists, Trotskyists, Maoists, anarchists, surrealists and Marxists. They were anticommunist as much as anticapitalist. Some appeared anti-industrial, anti-institutional, even anti-rational. Three positive objectives and one great fear dominated their views. The objectives were self-management by workers, a decentralization of economic and political power and participatory democracy at the grass roots. The great fear was that contemporary capitalism was capable of absorbing any and all critical ideas or movements and bending them to its own advantage. Hence, the need for provocative shock tactics. "Be realistic: Demand the impossible!" was one of the May movement's slogans. To many critics, all this was only the final twitch of a quasi-religious socialist utopianism that had long inspired workers and intellectuals rebelling against the pains of industrialization. Other critics preferred psychological explanations: May 1968 was a Freudian fling of adolescent revolt against Mom and Dad. Or it was a nostalgic bout of playacting, a childish re-enactment of the storming of the Bastille and other Greatest Hits of France's Revolutions. Or it was, paradoxically, an unwitting reinforcement of the individualist consumer capitalism that it claimed to oppose. On the other side, the anti-authoritarian spirit of 1968 was eventually seen as a wellspring of the successful rebellion against Soviet-bloc communism in 1989. The link was made graphically by book jackets rotating 68 to read 89. After all, Prague Spring...

Pierre ALECHINSKY Volturno II Original lithograph, 1989 Handsigned in pencil Unnumbered proof (edition of 99 copies) On Arches paper, size 90 x 60 cm. (c. 35,4 x 23,6 in) Exellent ...