Le Trésor Cruel de Hans Bellmer

Bellmer, Hans / Pieyre de Mandiargues, André

ISBN 10: 2851992082 / ISBN 13: 9782851992086

Edité par Le Sphinx, Paris, 1980

A propos de cet article

Text: French. 220 p.; ill.; 25,5 x 32 cm; 2,2 kg. Printed by Berger-Levrault, France. Dustjacket in minor condition. Inside fine copy.

N° de réf. du vendeur 015341

Détails bibliographiques

• Titre: Le Trésor Cruel de Hans Bellmer
• Éditeur: Le Sphinx, Paris
• Date de parution: 1980
• Langue: anglais
• ISBN à 10 chiffres: 2851992082
• ISBN à 13 chiffres: 9782851992086
• Reliure: Hard Cover
• Édition: First Edition.
• État de l'article: Good
• État de la jaquette: Good
• Type de livre: Book
• Catalogues du vendeur:
  • Artists : Monographs

A propos de ce titre

Synopsis

[Bellmer, Hans] Pieyre de Mandiargues, André. Bellmer. Paris, Le Sphinx 1980. 31,5 cm x 24,5 cm. 219 pages. With many black-and-white and colour illustrations throughout the book. Original Hardcover with original dustjacket in protective collector's mylar. Very good condition with only minor signs of external wear. [Collection Le Plan des Sources] Hans Bellmer (13 March 1902 – 23 February 1975) was a German artist, best known for the life-sized pubescent female dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he'd been working as a draftsman for his own advertising company. He initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls were directed specifically at the cult of the perfect body then prominent in Germany. Bellmer was influenced in his choice of art form by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925). Bellmer's doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls t..