Blindstamp lower right in margin
|Artist: Edmond Francois Aman Jean,
|Title: Sous les Fleurs (Under the Flowers)
A+, Original Lithograph,
issued by L'Estampe
Issue Number 9, Jan. 1898.
Printed by F. Champenois, Paris.
Blindstamp lower right in margin.
Signed in the stone lower right.
Presented in 16 x 20 in. acid free, archival museum mat,
with framing labels. Ready to frame. Shipped boxed flat.
Certificate of Authenticity.
See our Terms
| Sheet Size:
||12 in x 16 in
||30.5 cm x 40.5 cm
|Price: temporarily out of
(Like many of my most sought after images I am usually able to
locate this for clients. email me for a price estimate, Greg)
Edmond François Aman-Jean was born in Chevry-Cossigney (Seine
et Marne). His real name was Jean Amand. Orphaned at the age of 10,
Aman-Jean was taken in by an uncle in Paris. He commenced his art
studies in the atelier of the sculptor Justin Lequien; one of his
fellow pupils was Georges Seurat, and the two became close friends.
In 1878 Aman-Jean and Seurat moved on to the Paris Beaux-Arts together,
to study in the atelier of Henri Lehmann. Aman-Jean, Seurat, and fellow-student
Ernest Laurent fell under the spell of Impressionism at the Fourth
Impressionist Exhibition of 1879, and resolved to leave the Beaux-Arts.
In 1881, Aman-Jean discovered the work of Puvis de Chavannes, and
from 1883 he worked with Puvis on the grand "Bois Sacré" that decorates
one wall of the staircase of the Beaux-Arts de Lyon.
"Le Bois Sacre Cher Aux Arts et Aux Muses"
by Puvis de Chavannes
Aman-Jean produced his first lithographs around 1890, encouraged by
Léonce Bénédite. Although closely associated with Seurat, Edmond Aman-Jean
was more influenced by Symbolism than Pointillism, perhaps because
of his close friendships with the Symbolist poets Mallarmé and Verlaine
(of whom he made a ghostly lithographic portrait in 1891, see below).
Portrait of Paul Verlaine by Aman-Jean
Aman-Jean took up etching in 1908 under the influence and tutelage
of his close friend Albert Besnard. After mastering the art of etching
with such enthusiasm, Aman-Jean then abandoned it, fearing it would
distract him from his painting. Before WWI Aman-Jean had considerable
success in the United States as well as in France.
In 1922 Edmond Aman-Jean and Albert Besnard founded the Salon des
Tuileries, which mounted an exhibition of his work in homage in the
year after his death. More recently there was a retrospective at the
Musée des Arts Décoratifs de Paris in 1970. (Idbury Prints)
Not unlike the Maitre de L'Affiche series, L'Estampe
Moderne was a portfolio printed between 1897-98, published
by Imprimerie Champenois, Paris, contained 24 monthly portfolios,
with four original lithographs in each. Each commissioned only for
this series. Some of the contributing artists included Mucha, Rhead,
Meunier, Ibels, Steinlen, Willette and Grasset.