Georges Rouault, Composition, Stella Vespertina, Hliogravure

Condition: Pre-Owned
Hliogravure on vlin pur fil du Marais paper, archivally hinged on a vlin pur fil du Marais backing sheet, as issued. Paper Size: 19.25 x 15.25 inches. Excellent condition. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Georges Rouault, Stella Vespertina, 1947. Published by Ren Drouin, diteur, Paris; printed by Matres-Imprimeurs, Draeger Frres, Paris. Excerpted from the folio (translated from French), It was taken from this folio: V examples on Japon Imprial, including two of the plates used in the print run, marked from A to E; XXV examples on Vlin pur fil d'Arches, comprising a plate used for the print run, numbered from I to XXV; MM examples on Vlin pur fil du Marais, numbered from I to MM.

GEORGES ROUAULT (1871-1958) French painter, printmaker, ceramicist, and maker of stained glass who, drawing inspiration from French medieval masters, united religious and secular traditions divorced since the Renaissance. Rouault was born in a cellar in Paris during a bombardment of the city by the forces opposed to the Commune. His father was a cabinetmaker. A grandfather took an interest in art and owned a collection of Honor Daumiers lithographs; Rouault said later that he went first to school with Daumier. In 1885 he enrolled in an evening course at the Paris cole des Arts Dcoratifs. From 1885 to 1890 he was apprenticed in a glaziers workshop; his mature style as a painter was undoubtedly influenced by his work on the restoration of medieval stained-glass windows, including those of Chartres cathedral. In 1891 he entered the cole des Beaux-Arts, where he soon became one of the favourite pupils of the Symbolist painter Gustave Moreau, in a class that also included the young Henri Matisse and Albert Marquet. After the death of Moreau in 1898, a small Paris museum was created for his pictures, and Rouault became the curator. Among the major artists of the 20th-century school of Paris, Rouault was an isolated figure in at least two respects: he practiced Expressionism, a style that has never found much favour in France, and he was chiefly a religious painterone of the most convincing in recent centuries. Both statements, however, need qualification. Rouault was not as fiercely Expressionistic as some of his Scandinavian and German contemporaries; in some ways his work is a late flowering of 19th-century Realism and Romanticism. And he was not an official church artist; his concern with sin and redemption was deeply personal.
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