Paul Crotto (1922-2016) Lithograph Signed 70/80 Narrative Figuration

Beautiful lithography on a vellum of arches. Signed at the bottom right at the paper pencil.

Very Beautiful Lithograph on Arches Paper. Handsigned with pencil on Lower right. 25.6 \Born in 1922 in New York, the youngest of three children, Paul Crottto grew up in difficult conditions. Hired in the US Navy in 1942 during the Second World War, in 1945, he graduated from senior officer at the School of Midshipman Aspiring Chicago. After special training at Harvard University, he became responsible for communication and coding and went to the US Marine Group in India and Chungking, China. The group was dissolved after the war and Paul was sent to Shanghai where he left the Navy and was hired by the United States Department of War. He worked with the local military administration in Beijing during the Civil War between Tung Mao and Chang Kai Shek. Meanwhile, he was able to visit Formose. After Mao's victory, Paul left China via Manchurie to go to the United States where he finally left the Department of War. This Asian period has left a lasting impression in Paul's mind and thought. To thank him for being the g.

Bill, the US government funded Paul's studies. He had already begun to paint during his stay in China. When he returned to New York, he decided to continue on this path.

He studied in Art Student League in New York. After graduating in 1949, he went to Paris, like many other young American artists, to perfect his artistic education. Paul studied at the workshop of Fernand Léger, ranked among the three main cubists of the twentieth century and whose academy, founded in 1945, was at that time the main Parisian artistic education workshop. The other students were Le Corbusier, Sam Francis and Nicolas de Stael, among others. In 1950, Paul Sinsstals in Florence, where he is deeply impressed by the Italian Renaissance and continues his studies in art in Linstiti Dartisti.

There are two years left, learning the engraving, the melting of bronze and various painting techniques. Upon his return to Paris in 1952, he buys the workshop just above the light academy, sharing this modest accommodation with the young Bernard Fresson, one of the most famous French cinematographic actors of the twentieth century.

He worked for Latelier Latelier engraving in Montmartre and Larten teaching in Lamerican School, where the children of Rita Hayworth, Rebecca and Jasmine were his students. During this period, he married and founded a family, extended the workshop on another floor and with huge studio windows to create more space to live and work. Paul constantly exposed his work in galleries and personal exhibitions at several renowned galleries in Paris. This is the famous gallerist Jeanne Castel who finally discovers Paul in 1961. Since then, his art has been exhibited not only in Paris, but also throughout Europe and the United States.

In 1963, he receives the \Born in 1922 in New York, The Youngst of Three Children, Paul Crotto Grew Up in Straast Circumstances. Navy in 1942 During The 2nd World War, in 1945 Paul Graduated in the Midhipmans School in Chicago AS a commissioned officer. After Special Training at Harvard University, He Became a Communication / Coding Officer and Traveleld with the u. Naval Group to India and Thence Chungking, China.

THE GROUP WAS DISBANDED AFTER THE WAR ENDED AND PAUL WAS SENT TO SHANGHAI WHERE HE LEFT THE NAVY AND WAS Hired by the u. He WORKED WITH THE LOCAL MILITARY ADMINISTRATION IN PEKING DURING THE CIVIL WAR BETWEEN MAO TSE TUNG AND Chang Kai Shek.

DURING THIS TIME HE WAS ABLE TO VISIT FORMOSA. After the Victory of Mao, Paul Left China Via Manchuria to the u. Where He Fincally Left The War Department.

This asian Period Left A Lasting Deep Print on Pauls Mind and Way of Thinking. GOVERNMENT PAID FOR PAULS FURTHER EDUCATION. He Had Already Started Painting Whilst in China, ON Returning to New York He Decided to Pursue This Path. He Studied at the Art Student League in New York City. After Graduating in 1949 He Traveled to Paris Like Many Otter Young American Artists, to Further His Art Education.

Paul Studied at the workshop of Fernand Léger, Who is Ranked As One of the Three Major Cubists of the 20th Century, and Whose Academy, Founded in 1945, Was The Leading Atelier in Paris for Art Education at this time. Fellow Students included Le Corbusier, Sam Francis and Nicolas de Staël Among Others. Paul Remented Georges Braques Training Workshop at Hotel Roma for 9FF Per Day During This Period. HE Stayed There for 2 Years Learning Engraving, Bronze Casting and Diverse Painting Techniques. HE WORKED MAKING ENGRAVING IN LAUST WORKSHOP IN MONTMARTRE AND TEACHING ART AT THE AMERICAN SCHOOL, WHERE RITA HAYWORTHS CHILDREN, Rebecca and Jasmine Were His Students.

DURING THIS PERIOD HE MARRIED AND STARTED IN FAMILY, Extended The Workshop to include Another Floor and Huge Studio Windows To Create More Space to Live and Work. Paul Had Been Constantly Exhibiting HIS Work at Several Well Known Through Galleries Paris In Group Shows and Solo Exhibitions.

IT WAS THE FAMOUS GALLERIST JEANNE CASTEL WHO FINALLY DISCOVERED PAUL IN 1961. SINCE THEN, HIS ART WAS SUCCESSFULLY EXHIBITED NOT ONLY IN PARIS, BUT THROUGHOUT EUROPE AND THE U. In 1963, He Was Awarded The International Award of Villeneuve-sur-Lot in Paris. Is an artistic movement that appeared, mainly in painting, in the early 1960s in France, within the framework of the return to the new figuration and in opposition to the abstraction and contemporary movements of the new realism and pop art, to which it is Nevertheless associated.

It is necessary to avoid confusing it with the figurative narration which is a kind of narration combining images to text. The movement of narrative figuration has not been structured, in particular, by a manifesto, but has however been theorized by the art critic Gérald Gasiot-Talabot in a book published in 1965. This is a current of expression which initially restricts the scope of the new figuration by considering as narrative any work which refers to a representation figured in the long term, either by the circulation of objects in the canvas, or by sequences, including in the form of polyptycs, And who generally wants to restore painting a political and critical function of the consumer society.

Among its sources of inspiration frames, montages, etc. We count comic, cinema, photography, advertising actually, all images of everyday life.

The themes of the works are most often attached to the scenes of everyday life, as well as social or political demands. Most of the artists of this movement were marked by the leftist theses of May 68, especially those of Herbert Marcuse, considering that the subversive potential of their works had to hold in their aesthetic dimension much more than in an explicit speech. According to Marcuse, \Some of them claimed this trend, such as the anti-Francoie Eduardo Arroyo refugee in France, Gérard Fromanger, Erró, Gérard Guyomard, Ivan Messac, Sergio Birga, Henri Cueco.

The artists of narrative figuration opposed the American pop art that they considered too hegemonic, too formal, indifferent to the political struggles of the time and not quite critical of the consumer society, while using some similar formal expressions. In 1962, the narrative structure appears in playback of some artists like Peter Klasen, present in Paris since 1959 (shower, 1962), or Hervé Telemaque (the trip, 1962) arrived from New York a few months ago. The latter meets the same year Bernard Rancillac who participates in the show of the young painting with his comrades Eduardo Arroyo, present in Paris since 1958, Gilles Aillaud and Antonio Recalcati, gathered under the influence of Henri Cueco, winner of the Malborough Prize in 1956 In their commitment to challenge capitalist power, as well as Peter Saul also come from New York. Already in November 1960, the first exhibition of the new realists was held in Paris at the Festival d'avant-Garde and, in November 1962, at the Sydney Janis Gallery of New York by including the first collective exhibition of the artists of Pop Art American , theorized the same year. From May to June 1963, the US authorities then present for the first time in Europe, the American Center of Paris, the exhibition \While the first series of roys of King Lichtenstein, 1961, based on comics, is at the same time exposed to the Gallery Ileana Sonnabend.

At the third biennale of Paris, at the end of September 1963 at the Museum of Modern Art of the City of Paris, Eduardo Arroyo, holding new figuration, is then known by exposing his polyptych the four dictators5, a series of portraits of Dictators including Franco, who provoked the protest of the Spanish government. However, in the month of June before, the new American school had just been devoted to the Venice Biennale by the granting of the Grand Prix to Robert Rauschenberg, only a few days before the opening of this exposure to MAMVP, which led themselves.

In October 1965, Gasiot-Talabot presents at the Galerie Creze the eponymous exhibition \Living and letting die or the tragic end of Marcel Duchamp of Arroyo, Aillaud and Recalcati, acquired in 2013 by the Reina Sofia Museum of Madrid7, which constitutes the manifesto of this movement. The following year, the exposure \The movement also advocated the production of collective works, especially in the form of polyptycs, used from 1963 by Arroyo with the four dictators or by Telemaque with My Darling Clementine. The first of these collective works, entitled A passion in the desert, carried out in 1965 by Arroyo, Aillaud and Recalcati, is a series of thirteen canvases inspired by a news of Balzac, which relates the loves of a soldier of Bonaparte in Egypt And where each artist had the freedom to modify the work of the other two, in order to abolish the \collective work. The polyptyka live and let die or the tragic end of Marcel Duchamp, introduced by a copy of his famous naked picture descending a staircase and true manifests of the pictorial intentions of the movement, was realized by the same artists with the collaboration of Gerard Commandanger, but also That of Francis Biras and Fabio Rieti for the reproduction of Marcel Duchamp's three works.

A sequence of eight paintings represents the assassination of Duchamp by the three main painters of the polyptyque, thus attacking the conceptual art advocated by this emblematic figure of the avant-garde, symbol of the intellectual falsifications of the bourgeois culture which \like pop art and new realism. Thus, in the 8th and last canvas, we see the American defenders as European of these two movements, Andy Warhol and Pierre Restany, supporting the rear the coffin of Duchamp covered with an American flag, being preceded by Arman, Claes Oldenburg and Martial Raysse and conducted by Robert Rauschenberg. The series divided the 68 artists invited to the exhibition \In 1966, Gerhard Richter, also holding back to Figuration, also opposed the influence of Duchamp, evoking the same work of this one in his web EMA, Akt auf Einer Treppe (Ema, naked on a Staircase, Cologne, Ludwig Museum), manifested with its blur technique initiated in 1963 (Hirsch).

Other artists, Henri Cueco, Lucien Fleury, Gilt, Jean-Claude Latil, Michel Partor and Gérard Tisserand have come together in the Cooperative of Malassis10 from 1970 to 1977. One of the most important works of this group is the great Mechoui or twelve years of History of France (1972, Museum of Fine Arts of Dole) composed of 50 canvases brocating the action of the government and which felt scandally by the collective action of its stall, during the opening of the exhibition wanted by the President of the Republic at the Grand Palais, called \In 1977, the exhibition \Some movement artists, consolidated especially at the young painting fair in the early 1960s, held a militant speech marked on the far left and gave their art a goal of social transformation. Ranillac, Arroyo, Aillaud, Fromanger and Cueco also participated in the popular workshop of the School of Fine Arts of Paris which produced the posters of May 68. The famous poster We are all Jews and Germans representing Daniel Cohn- Bendit12 would be Rancillac13, to which Pierre Bourdieu was worried. The philosophers Michel Foucault and Gilles Deleuze will also comment on the works of Gerard Commandanger; While Jacques Derrida will analyze those of Valerio Adami, Louis Althuser those of Leonardo Cremonini, Paul Virilio those of Peter Klasen and Jean-François Lyotard those of Jacques Monory. A 1963 Peter Saul canvas, Ice Box is sold at Christie's New York for $ 383,000 (without fees).

In 2007, COMICSCAPE (1971) of Error reached 838,000 euros15 at Christie'S16. Melody under the Palmes of 1965, by Bernard Rancillac is sold in 2012 for 291,000 euros. A great retrospect was held in 2006 at the Museums of Fine Arts of Orleans and Dole, entitled \Valencian Institute of Modern Art of Valencia. Main museums exhibiting works of narrative figuration. Geneva, Ghent Foundation for Art17.

Nice, museum of modern art and contemporary art. Museum of modern art of the city of Paris. National Museum of Modern Art. Valencia, Valencian Institute of Modern Art. Jacques Monory (born in 1924).

Juan Genovés (born in 1930) 18. Bernard Rancillac (born in 1931).

Gérard Schlosser (born in 1931). Erró (Gudmundur Gudmundsson, said, 1932).

Herman Braun-Vega (born in 1933) 19. Antonio Segui (born in 1934).

Peter Saul (born in 1934). Valerio Adami (born in 1935). Peter Klasen (born in 1935). Vladimir Velikovi (born in 1935). Jan Vos (born in 1936).

Pierre Deeps (born in 1936). Hervé Telemaque (born in 1937). Eduardo Arroyo (born in 1937). Peter Stämpfli (born in 1937). Antonio Recalcati (born in 1938). Gérard Fromanger (born in 1939). Sergio Birga (born in 1940).

Carlo Maiolini (born in 1940). Manolo Valdès (born in 1942).

Gian Paolo Dulbecco (born in 1941). Bernard Morteyrol (born in 1942). Frédéric Brandon (born in 1943). Cybele Varela (born in 1943). Ivan Messac (born in 1948).

The seller is \This article can be shipped to the following countries: America, Europe, Asia, Australia.

Style: 1970 <\/ Li>
Authenticity: Original <\/ Li>
Period: XXth and Contemporary <\/ Li>
Genre: narrative figuration <\/ li>
support: on paper <\/ li>
Theme: Interior <\/ Li>
Type: Lithograph <\/ Li>
Features: Series <\/ Li> <\/ ul>