Antiquités Trouver Bonheur
Antiquités Trouver Bonheur

Cf metropolitan museum of art Hand Drawing Circa 1933 Rare Self-portrait Berthold Charles Désiré Mahn Signė Datė Art Deco Period

Hand Drawing Circa 1933 Rare Self-portrait Berthold Charles Désiré Mahn Signė Datė Art Deco Period.
Artiste: Berthold Charles Desirė Mahn
Epoque: 20ème siècle
Style: Art Déco
Etat: Bon état

Matière: Crayon fusain
Largeur: 30 cms
Hauteur: 40 cms
enemy had direct sight. In their shelter, the troops passed, invisible. Painted canvas, also used for this purpose, served rather to cover trenches, shelters, cannons, etc. Trucks arrived and left without stopping, loaded with prisoners, and our production always remained below the needs of the front, which were immense”. From Vieux-Colombier to Chaumot (1920-1975) From 1920 to 1924, he worked at the Théâtre du Vieux-Colombier, performing sketches of actors at work: his collection Souvenirs du Vieux-Colombier (55 drawings prefaced by Jules Romains), in 1926, is the culmination. If the biography of Bethold Mahn is now essentially confused with his bibliophilic production, several trips are nonetheless identifiable: Algeria in 1926 as evidenced by the drawing Palmeraie at Laghouat kept at the Metropolitan Museum of Art; Alsace that in 1931, in the company of Georges Duhamel and in the latter's car, he crossed to Strasbourg, executing some sixty drawings for the needs of the book that the two friends would publish the same year, L' Alsace - Interview, or the blind and the paralytic: the word "blind" slipped into the title of the book, includes the American academic L. Clark Keating, constitutes the admission by the writer of his inability to accompany the artist in his immediate perception of beauty; Greece, still in the company of Georges Duhamel and in 1936, a journey about which the artist confides himself in his Travel Letters which, like his sketches, will enrich Georges Duhamel's book Homer in the 20th century. In 1939, Berthold Mahn acquired at Lorris, a hamlet dependent on the village of Chaumot (Yonne), a small farm where he established his residence
invasion of 1940, Berthold Mahn took refuge in the village of Boisséjour, in Puy-de-Dôme. It was during the two winters that he spent there that he met and became the friend of Henri Pourrat with whom he traveled and then drew Auvergne. We find these drawings, of which Roger Gardes will write that "they harmoniously complete the text of Pourrat which takes the form of a friendly walk through Auvergne", in Le Chemin des goats, published by Gallimard in 1947. It was in the 1950s, observes Hélène Braeuner, that an evolution is perceptible in Berthold Mahn in the treatment of the drawing: "the landscapes of the years 1950-1952 are often treated in the manner of an old cavalier view, with a obvious search for the panoramic effect. The following constitute slices of nature much less characterized. There is also a much less advanced synthesis, a greater search for the atmosphere. It is no longer a question of pure drawing but, more and more, of real paintings with plans and values marked by wash drawings that are always studied”. Died in April 1975, Berthold Mahn rests in the cemetery of Chaumot.

Width : 30 cms
Height : 40 cms

Category : Decorative objects
Style : Art Déco
Period : 20th century

Price : 450
Shipping : 20 € for France, request a quote for other country


AEF Back to Top