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| Artist: Henri
Meunier Belgian (1873-1922) |
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Item: PM.18
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| Title: Gonthier-Meymans (before text) |
Description: Condition
A.
Original lithograph from the "Das
Moderne Plakat" series, View
entire collection (50)
Printed by Verlag von Gerhard Kuhtmann, Dresden, 1897.
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 of Sale |
| Sheet Size: |
9 in x 12 in |
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23 cm x 30.5 cm |
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Price: $175.00 USD
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"This poster for a Brussels firm specializing in the 'Three Fs'
Furnishings, Fabric and Framing, illustrates in nearly textbook fashion
the spectacular simplicity with which the designer delivered his artistic
good. From the fluid planes of flat color to the uncluttered detailing
to the clever touch of advertising a framer with an unobtrusive bare-bones
frame, the resulting image creates a visual attraction that seduces
without a single note of anything overtly sensual." (Rennert
XXXII, 411)
"As a poster designer, Meunier knew how to organize well-observed
detail to create an almost musical ambiance…by compositions that
are gravely meditative, clean and synthetic…
The Son of Belgian engraver Jean-Baptiste Meunier and nephew of sculptor
Constantin Meunier, Henri seems to have come by his artistry in a
genetic fashion. After completing brilliant studies at the academy
in his native Ixelles, he went on to pursue many fields: printmaker,
poster designer, graphic reporter and book binder. Oostens-Wittamer
characterizes his poster work as focused on bringing out opposing
light and dark values within his often large, contained, flowing masses
of color... The poster for
Ysage concerts at the end of 1895 is considered to be the first made
by Meunier" (Belle Epoque
1970 p.68)
"Henri Meunier was an artist of exceptional purity. He took flat
colours in flat tints and his thick outlines from Japanese prints
to construct strong and clear images: 'With two or three pure colours,
he fixes an impression that penetrates and imposes itself like the
truth' justly notes Demure de Beaumont."(Weill,
p.60)
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