BETTINA SMITHの想像による18世紀末サド侯爵邸にて淫らな夜宴

33,000 

本紙約22×30cm

版画約14,5×24cm,

石板手彩色

約1920年代パリ

状態良好

フランス貴族で性的自由作家のマルキ・ド・サド(1740~1814)邸にて放蕩な夜宴の想像作品。1910~1920年頃に秘密発行手彩色リトグラフ150部非売品の一。ベルエポック時代の女流画家ベッティナ・スミス(BETTINA SMITH)の最も有名な作品。

在庫1個

説明

UNE FÊTE NOCTURNE CHEZ LE MARQUIS DE SADE A LA FIN DU XVIII SIÉCLE. POCHOIR COLOR ILLUSTRATION.

feuille de papier:22×30cm

gravure au trait:14,5×24cm,

érotisme gravure au pochoir de BETTINA SMITH

Edité par Paris, 1920

Très bon état de l’ensemble.

Une Fete Nocturne chez le Marquis de Sade, a la Fin du XVIIIe Siecle; Ayant versé dans les coupes de champagne destinées à ses invités un puissant aphrodisiaque, le Marquis de Sade leur fit perdre pour quelques heures la conscience de leurs gestes et il les livra  au démon de la chair.

Nocturnal Feast at the Marquis de Sade’s at the End of the Eighteenth Century

eroticism stencil engraving by BETTINA SMITH

Marquis de Sade (1740-1814), French aristocrat and writer of works concerning sexual freedom;Nocturnal Feast at the Marquis de Sade’s at the End of the Eighteenth Century,colour litho.

Paris: Ca. 1920. Print. Seperatly published, fabulous erotic French pochoir color illustration. A debauched dinner party with 12 participants and champagne and glasses on the table in the foreground. The women in various stages of undress. Lithograph print with pouchoir color, an intensive process that uses stencils to apply the vibrant color. Approx 30×22.5cm(Print ontology 14.5×24cm). Very good condition.

this illustration is a separaly printed “debauched dinner”, multiple lithograph print with “pouchoir” coloured. the author is Bettina SMITH.

Jean-Pierre DUTE Collection

About Bettina SMITH

German-born, Paris- and New York-based artist Bettina Blohm paints gouache and acrylic works that rely on their lyricism to affect the viewer. Her designs are simple but never simplistic; the resolutely abstract works may stem, as she puts it, from “something seen,” but she takes care to “collect visual ideas” and produces colorful, emotionally compelling paintings through rhythm and repetition.

While her art can come close to whimsy, and her abstraction shows that she is a good student of the New York School, there remains in her paintings a possibly European-based restraint, which gives them a certain seriousness even when they are light-hearted to a high degree. Indeed, the tension between earnest intention and whimsical enthusiasm is central to her art.

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