Artist: Edmond Francois Aman Jean French (1860-1935)
Title: Sous les Fleurs (Under the Flowers)
issued by L'Estampe Moderne
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 of Sale
Sheet Size: 12 in x 16 in 30.5 cm x 40.5 cm
Price: Temporarily out of stockI can usually source this poster. If you are interested please contact me. 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.
Seurat's study of his friend the artist Aman-Jean (1860–1936)
ranks as one of the great portrait drawings of the nineteenth century.
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).
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.