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TRIPLEX A DEUX DOIGTS DE LA MORT
A. M. Cassandre
A. M. Cassandre: TRIPLEX -- A DEUX DOIGTS DE LA MORT. Paris: Alliance Graphique, 1932. Original edition. A very good tri-fold brochure with a large scuff mark to the rear panel. The brochure appears to have been stuck to another document at some point, otherwise near-fine condition. An exceptional document presenting a forceful integration of Commercial Graphic Art, Surrealism and Avant-Garde typography by a true master of the form. Rare.
8 x 10.25 tri-fold catalog that unfolds to 24 x 10.25. For this brochure for Triplex Auto Glass, Cassandre unleashed every weapon in his formidable graphic arsenal: a highly-stylized X-Ray homage for the cover, a superimposed Photogram of the Winged Victory of Samothrace, a reproduction of his Triplex Poster from 1931, all brilliantly integrated with tasteful typography via high quality offset-lithography. [A. M. CASSANDRE OEVRES GRAPHIQUES MODERNES 1923-1939, Paris: Bibliotheque Nationale de France, 2005. page 72.]
A. M. Cassandre (1901 - 1968) born Adolphe Jean Edouard Mouron and studied at the Ecoles des Beaux Arts in Paris. He produced his first poster Au Bucheron at 22. Cassandre's work was seen as a bridge between the modern fine arts and the commercial arts. Despite his affinity to the fine arts he always believed there should be a separateness between disciplines. The success of his posters probably lies in his philosophy that his posters were meant to be seen by people who do not try to see them.
Following the Art Deco premiere at the 1925 Exposition, Cassandre joined with designer Jean Carlu to form a group of artists whose mission would be to advance Modernist aesthetics in all applications of design and thought. The Union des Artistes Modernes (UAM) was born of this common goal. Charles Peignot, joined the groupšs membership with the likes of writer Jean Cocteau, Nobel laureate André Gide, architect Le Courbusier, decorator Sonia Delaunay, Maxmilien Vox, and other artists who specialized in the design of jewelry, textiles, furniture, and lighting.
Peignot later clarified the groupšs purpose: "Together we tried to break away from the style that survived the first World War. It is not surprising that I tried to accomplish in my field what my friends were doing in theirs."
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