Montage Fellini

Galerie XXe Siècle presents its new creation:
The Fellini Bench.

The design of the piece uses simple geometrical forms and combines precious materials: Bronze, mahogany, and saddle-stitched leather.
Its elegant look is a tribute to Italian design and to discrete luxury.

Dimensions L 220 H 40 W 70 cm.

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Emile Gilioli 1911 – 1977 – L’oiseau Mystérieux (1967)

Bronze doré et poli, signé et numéroté 5/5, H 35cm avec le socle.

L’œuvre de Gilioli est d’une unité impressionnante. Si l’on voulait user d’un processus indéfendable, on pourrait dire que les œuvres de Gilioli peuvent être envisagées en fonction de trois constituantes principales : la forme, la matière, la façon. La forme, tournant autour de l’idéalité de celle de l’œuf ou du galet poli dans le ressac, on l’aura compris d’essence brancusienne ou arpienne, sans le tournant érotique d’Arp et plus près de la plénitude sensuelle de Brancusi, mais toujours prête à s’allier à l’autre pureté, soudain aigüe, du cristal, idéal de l’accouplement de la courbe et de l’angle, de la forme femelle et mâle. La matière de ce bon ouvrier, comme gêné par la simplicité de son travail est pressé de la faire excuser, lui seul sachant que plus ça parait simple et plus ce lui fut long et difficile, rare et somptueux, le marbre sans défaut ou au contraire aux veines les plus exquises, agate, cristal de Baccarat. La façon polie, lissée, jusqu’au miroir, encore une des bonnes manières de l’artisan sans reproche. En fait, on s’en doute, forme, matière et façon sont inséparables et se conditionnent réciproquement. La forme exige sa matière et la façon de la travailler, comme aussi bien la matière impose la forme qui lui convient. Gilioli ne sépare pas les formes sorties de ses mains des formes que nous propose la nature. A sa façon, il dit : « La plus belle sculpture, pour moi, c’est le ciel ». De certaines de ses sculptures, il dit que ce n’est pas lui qui les a faites, qu’elles lui ont été « données » voulant indiquer qu’un galet, un rocher, lui ont proposé des rapports de formes qui correspondent à ce qu’il ressent comme un idéal.

Les œuvres d’Emile Gilioli sont exposées dans le monde entier: Musée National d’Art Moderne de Paris, Tate Gallery de Londres, Musée de Sculpture de Plain Air de Middelheim d’Anvers, Museo de Arte Moderna de Sao-Paulo, Museum of Modern Art de New York, Musée Bezabel de Jérusalem, Musée de Peinture et de Sculpture de Grenoble, Musée des Beaux-Arts d’Ostende, Musée National d’Histoire et d’Art de Luxembourg, Centre Georges-Pompidou à Paris, Musée de Sculpture de la Ville de Paris, Museo de Bellas Artes de Caracas, Musée des Beaux-Arts de Dunkerque, Musée des Beaux-Arts de Rouen, Museo dei Bozzetti Pietrasanta, Kunsthaus de Zurich, Musée Fabre Montpellier.

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An Italian born in Paris, Emile Gilioli was one of the pre-eminent sculptors of the post-war Ecole de Paris. “Sculpture for me is about the rhythm of space and time. Space is an essential absence.”  For Gilioli, the challenge of sculpture was a fusion of art and architecture and the choice of material was paramount in determining the form of the object. During his career he sculpted in a wide range of materials, including granite, marble, crystal, onyx, agate, lapis-lazuli, porphyry, alabaster and cement.

In 1946 after the Liberation he held his first exhibition in Paris at Galerie Breteau which lead to him being taken on by the high profile Galerie Denise René. Here he associated with leading avant-garde artists Poliakoff, Vasarely, Deyrolle and Dewasne, and also exhibited with Arp, Giacometti, Laurens and Picasso, and became friends with Brancusi. In 1949 he participated in a major exhibition at Galerie Colette Allendy with Deyrolle, Hartung, Soulages and Schneider which firmly established Gilioli at the forefront of the avant-garde. In 1951 he became vice-president of the prominent abstract group Espace, initiated by André Bloch, Fernand Léger and Le Corbusier. 

Gilioli’s work is represented in numerous major museum collections around the world, most notably the Tate Modern, London; Musée National d’Art Moderne, Paris; Museum of Modern Art, New York; Hirshorn Museum, New York; Art Institute of Chicago; Carnegie Institute, Pittsburgh; Museu de Arte Moderna, Sao Paulo; Museum of Miami; Elsingfors Kunsthall, Helsinki; Museum of Modern Art, Stockholm; Royal Museum, Belgium.

 

Montage News BDF

Polyurethane table by Louis Durot
Wood and fabric Brazilian armchairs
Bronze table by Victor Roman

 

Waiting for you at Beirut Design Fair!

In collaboration with Chrystyna Salam

 

Seaside Arena, Hall 2, Booth B8 – 20 / 23 September 2018

 

 

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15 bronze sunflowers by Hermine Anthoine, 2009, France, H 160 to 240 cm

Born in 1973 in Haute-Savoie, Hermine Anthoine advocates a certain dialogue between sculpture and her childhood universe as a farmer’s daughter. Having grown up in an environment witnessing permanent interaction between man and nature, she brings out elements from the rural world into the world of sculpture, thus creating a universe immersed in poetry and fantasy, delicacy and solemnity, humor and tragedy.

Summer18-reseaux

Dear friends, we will be closed from July 30 till August 31.

For any enquiries or requests, please contact us by email: info@xxesieclegalerie.com

We wish you a wonderful summer!

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Polyurethane dining table. Louis Durot, France, circa 1970. L 267 H 77 W 111 cm.

Louis Durot is a French sculptor and chemical engineer born in Paris in 1939. His creations are always surprising and original thanks to his imagination and his technological expertise.

Durot designed during the 70s more than sixty sculptures representing mushrooms and carnivorous plants from an alien world.
In 1964, he met the artist Francois Arnal
, who was interested in Durots’ engineering expertise for his sculptures.

In 1966, Arnal introduced Durot to the artist Cesar, with the idea that Durot’s talents as a chemical engineer would be useful. He spent a year helping Cesar to master the techniques of working with polyurethane foam, searching for ways to make this fragile and ephemeral substance more stable and permanent, and more amenable to control. Cesars’ first works in this medium were flat, due to the difficulty of controlling the foam, but he went on to create his famous “expansions”.

In 1979, Durot presented his own creations in an exhibition in Paris during the Batimat Show. He has signed contracts with great companies such as American Colloïd and Zolpan. It permitted to focus his work on the technological development. 

A one man show of his work was held at the Contemporary Art Museum of China in Canton, among other worldwide exhibitions.

Our table echoes with Cesar’s expansions of the late 1960s.

Provenance: This table comes from the personal collection of the famous gallerists Cyril and Alan Grizot. (Voir Binoche J-C. et Godeau A., Le regard d’Alan, Paris 1991 – Rodriguez R. et Grizot A., Polyurethannes Louis Durot, Paris 2005).

 

 

Invitation Guy Bareff-GrosTexte

Luminous sculptures and totems

14 April – 12 May 2018

Opening reception Saturday 14th of April in the presence of the artist. From 11am to 20 pm.

 

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Signed brass sculpture by Santa (Claude Santarelli), France, circa 1975, H 50 cm

From 1942 to 1950 studied sculpture at the School of Fine Arts in Paris. Called as a stylist at the Verrerie d’Arques, he moved to Saint-Omer in 1951. After 1958, he adopted abstraction. First by assembling and accumulating industrial waste: tubes, bars, angles, etc… Then by working brass, a more malleable material than iron.

1965 participates in the first Symposium of Quebec.

1970 obtains the André Susse Prize for Young Sculpture.

1972 makes his first jewels with the Parisian jeweler Gennari.

Tournan-en-Brie baptizes with his name a school and a roundabout, adorned with one of his sculptures.

His works are currently sold at auctions in big sales.

2 retrospectives are organized in 1973 by the Sandelain Hotel Museum in Saint-Omer and in 1981 by the Musée de la Galerie in the former post office in Calais.

 

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Ceramic and iron table by Roger Capron, France, circa 1950, L 140 W 29 H 39,5 cm

“KI” armchairs, by Maurice Calka, France, circa 1960, H 66 W 67 D 70 cm

Kinetic lamp by Superstudio, Italy, circa 1970, H 196 W 45 cm

“Spray” iron Sculpture by Harry Bertoia, circa 1960, H 85 Dia 140 cm

Dear all,

Galerie XXe Siècle will be closed from the 1st until the

31st of August.

During this period, the gallery will open only by appointment.

Wishing you a wonderful summer!

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