Robert Lotiron, Composition, Alternance, Etching

Condition: Pre-Owned
Etching on vlin pur chiffon de Rives paper. Unsigned and unnumbered. Paper Size: 9.875 x 12.875 inches. Excellent condition. Notes: From the folio, Alternance, 1946. Published by Le Gerbier, Paris; printed by atelier Quesneville, Paris, March 2, 1946. Excerpted from the folio (translated from French), Printing was finished on March 2, 1946 on the presses of atelier Quesneville for thirteen etchings; on the presses of Lacourire for the etchings by Henri Matisse and Dignimont; the etching of J.G. Daragnes was engraved by himself; the typography, which is composed of Garamond was printed on the presses of the Master Printer, G. Girard. This collection of sixteen original etchings, alternating with sixteen unpublished writings, CCC examples have been drawn, including XXXVIII on Monival and hand numbered from I to XXXVIII; and, CCLXII on Rives BFK, numbered from XXXIX to CCC. XL examples have been drawn for hors commerce on Lana a la forme have been numbered form of I to XL.

ROBERT LOTIRON (1886-1966) Born in Paris, he found his calling as a painter at a very young age after discovering the collection of impressionist painting owned by Docteur Viau, the family dentist. With his father intending for him to take over the family lace shop, he studied in England, without enthusiasm, between 1901 and 1903. However, on his return to Paris, he enrolled at the Acadmie Julian, where he attended the workshop of Jules Lefbvre and became friends with Roger de La Fresnaye (1885-1925) and Louis Marcousis (1878-1941). Initially influenced by impressionism, Robert Lotiron became a brief exponent of cubism, which marked his maturity with the expression of a strong synthesis of forms. His style developed from the 1920s in an entirely personal combination which mixes the memory of the naive sincerity of Henri Rousseau, the sense of the composition, the opposition of forms and the rhythm of the colours inherited from Czanne and a limited palette rich with subtle nuances. During the interwar period, he joined a group of artists who subsequently exhibited in the Berthe Weill and Druet galleries. Lotiron then became one of the most conspicuous landscape artists of his time. This emphatic presence on the French artistic scene of this generation gained him a place, in 1937, at the retrospective of Masters of Independent Art, organised in Paris for the Exposition Internationale. His works were regularly purchased by the State and he received several orders for wall decorations during the 1930s. Towards the end of the decade, his art became harsher without abandoning his chromatic sophistication. After the Second World War, he developed new subjects and developed his research by taking up lithography. His vision became more direct and stripped back. The Muse des Beaux-Arts de Cambrai and the Muse du Mont-de-Pit de Bergues are partners in this project and will organise an exhibition dedicated to the engravings of Lotiron and a second to his drawings, respectively.
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