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Geometric Figures & Color. Sol LeWitt. Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue
LeWitt, Sol: Geometric Figures & Color. Sol LeWitt. Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue. New York: Harry N. Abrams, 1979. Signed by the artist on the title page. 48 pages of illustrations. Paperback. 21 x 21cms. Lewitt conceptually explores: 'Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue.' The book is divided into three sections, each of which differ by background color. Barbara M. Reise wrote that 'LeWitt's colours, like his lines and squares, are like 'facts': they are inert, pre-established, accepted and un-emotional man-made constructs which can 'come to life' within a present context but do not necessarily do so. Red, yellow, blue, and black (and the white of wall or paper) are standard 'absolute primaries basic to all pigment colour - that is according to the colour system accepted by an art academic from early 19th-century theorists like Chevreul. Unlike the Newtonian rainbow-spectrum based on light-waves, this theoretical structure is more conceptually mathematical and tautological than referential to some exterior and inhuman Nature. LeWitt's use of these colours is as flatly complete, physical, and self-reflective as the theory itself. Unlike Seurat, whose use of the same colour theories was subordinated and interrelated to other interests in proportion theories and (seen) scene subject-matter, LeWitt uses colour as both the subject and the object of his art' (in: 'Sol Lewitt Critical Texts,' ed. Adachiara Zevi, Rome, 1994, p. 188).
Lewitt conceptually explores: 'Circle, Square, Triangle, Rectangle, Trapezoid and Parallelogram in Red, Yellow and Blue on Red, Yellow and Blue.' The book is divided into three sections, each of which differ by background color. Barbara M. Reise wrote that 'LeWitt's colours, like his lines and squares, are like 'facts': they are inert, pre-established, accepted and un-emotional man-made constructs which can 'come to life' within a present context but do not necessarily do so. Red, yellow, blue, and black (and the white of wall or paper) are standard 'absolute primaries basic to all pigment colour that is according to the colour system accepted by an art academic from early 19th-century theorists like Chevreul. Unlike the Newtonian rainbow-spectrum based on light-waves, this theoretical structure is more conceptually mathematical and tautological than referential to some exterior and inhuman Nature.. LeWitt's use of these colours is as flatly complete, physical, and self-reflective as the theory itself. Unlike Seurat, whose use of the same colour theories was subordinated and interrelated to other interests in proportion theories and (seen) scene subject-matter, LeWitt uses colour as both the subject and the object of his art' (in: 'Sol Lewitt Critical Texts,' ed. Adachiara Zevi, Rome, 1994, p. 188). Text in English
Strict Beauty - Sol Lewitt Prints
Couverture rigide New Haven, Yale University Press, 2020. Un volume petit in-4 (26 x 22,5 cm), cartonnage d'éditeur illustré, sous son blister d'origine. 288 pages, illustrées de 416 reproductions en couleurs et 6 en noir et blanc. Texte en anglais. L'artiste conceptuel Sol LeWitt (1928-2007) est surtout connu pour ses dessins muraux et ses structures modulaires. Parallèlement à ces œuvres, il a réalisé plus de 350 projets d'impression, comprenant des milliers de lithographies, de sérigraphies, d'eaux-fortes, d'aquatintes, de gravures sur bois et de linogravures. Cet ouvrage généreusement illustré est le premier à présenter de manière exhaustive la pratique de l'estampe de LeWitt, importante mais encore peu explorée. Avec plus de 400 illustrations, dont beaucoup n'ont jamais été publiées auparavant, cette étude offre une image plus complète de l'œuvre de LeWitt et situe les gravures de LeWitt dans le contexte plus large de son approche sérielle, systémique et basée sur des règles de la création artistique. Bel exemplaire, comme neuf.
Comme neuf
Sol Lewitt Flat and Glossy Black
Gent, Imschoot, 1998. Plaquette in-8, (24) pp., broché, couverture noire imprimée en gris foncé.
12 compositions en noir jouant sur les contrastes brillant / mat. Tirage limité à 100 exemplaires. / 12 compositions in black that play on the matte / glossy contrast. Print run of 1,000 copies. * Voir photographies / See pictures. * Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte sur rendez-vous.
All four parts combinations of six geometric figures
1980 Tokyo, Galerie Watari, March 1, 1980, 118x307mm, 16p., broché sous couverture imprimée.15 dessins de Sol Lewitt reproduits pleine page. (101938)
Phone number : +33 1 48 01 02 37
Arcs and Lines; (Umschlagtitel) - All combinations of arcs from four corners, arcs from four sides, straight lines, not-straight lines, and broken lines
Lausanne, Editions des Massons, 1974. 20,5x20,5 cm. 56 n.n. S. Originalbrsochur.
Originalausgabe. - Published in collaboration with Yvon Lambert. Kleines Preisschild auf der Rückseite. - Einband etwas vergilbt.
Black Gouaches.
Paris, Les Nouvelles Editions Séguier, 1992. 36,8x29,8 cm. 32 S. mit s/w. Abbildungen. Originalpappband in Schuber.
Originalausgabe. - Nr. 888 von 1000 numerierten Exemplaren.- Als Leporelle gedruckt. - Rücken am unteren Aussengelenk mit kleiner Beschädigung.
Squares with sides and corners torn off.
New York, John Weber Gallery 1977. 14x14 cm. 32 n.n. S., illustriert. Originalbroschur.
Wall Drawings 1984-1988.
Bern Kunsthalle 1989. Quer-4°. 160 S. Mit vielen teils farbigen Abbildungen. Originalbroschur.
Vorwort von Ulrich Loock in Deutsch und Englisch. - Einband an den Kanten berieben.
Sol LeWitt
Metz, Editions du Centre Pompidou-Metz, 2012, 25,5 x 28,5, 326 pages sous cartonnage éditeur imprimé. Iconographie noir & blanc et couleurs. Ouvrage publié à l'occasion des expositions présentées à Louvain du 21 juin au 14 octobre 2012 et au Centre Pompidou-Metz du 7 mars au 29 juillet 2013.
![Sol LeWitt. [LEWITT Sol] COLLECTIF](https://static.livre-rare-book.com/pictures/LCS/arttttt91910924_1_thumb.jpg)
![Sol LeWitt. [LEWITT Sol] COLLECTIF](https://static.livre-rare-book.com/pictures/LCS/arttttt91910924_2_thumb.jpg)
![Sol LeWitt. [LEWITT Sol] COLLECTIF](https://static.livre-rare-book.com/pictures/LCS/arttttt91910924_3_thumb.jpg)
Très bon état.
WALL DRAWNING.
Centro Internacional de Arte, Palacio Revillagigedo. 1993. Broché, couverture ajourée qui laisse apparaître une peinture de l'artiste, dos droit collé, sous étui titré. Dim livre : 249 x 158. Dim étui: 238 x 165 mm.
Sunrise and sunset at Praiano
1980 New York Rizzoli, 1980, 20x19.5cm, 32p. sous couverture souple titrée, dos carré.120 photographies en couleur 78x78mm, présentées régulièrement par 4 sur 30 pages pour ce livre d’artiste sans texte. (101937)
Phone number : +33 1 48 01 02 37
WALL DRAWINGS & STRUCTURES: THE LOCATION OF SIX GEOMETRIC FIGURES. VARIATIONS OF INCOMPLETE OPEN CUBES.
The John Weber Gallery, 420 W. Broadway New York. October 26 - November 20, 1974. Cm. 38 x 76, grande poster / libro ripiegato (folded poster / book), che forma 4 pp. di cm. 38 x 38 ciascuna. Stampato in offset in bianco e nero. Bell'esempio di poster di arte concettuale, pubblicato in concomitanza con la mostra del 1974 presso la John Weber Gallery di New York. Ben conservato.
Incomplete open cubes
1 New York. The John Weber Gallery. 1974, 205 x 205 mm. 264p, broché. (101969)
Phone number : +33 1 48 01 02 37
Arcs and Lines.
All combinations of arcs from four corners, arcs from four sides, straight lines, not-straight lines, and broken lines. Lausanne Editions des Massons 1974, 56p., 210x210mm, offset noir & blanc, broché. (101970)
Phone number : +33 1 48 01 02 37
Four Basic Kinds of Line and Color
1969 Four Basic Kinds of Line and Color. [London/New York , Lisson Gallery; Studio International/ Paul David Press,1969/ 1971. Titre & 34 planches, couverture souple. (101929)
Phone number : +33 1 48 01 02 37
Five cubes placed on twenty-five squares with either corners or side touching
1977 Bari, Bonomo Gallery,1977, 50, planches, broché. (101932)
Phone number : +33 1 48 01 02 37
The location of eight points
New York, Max Protech 1977, 24p., reproduction de l’édition de 1974. (101933)
Phone number : +33 1 48 01 02 37
Photo Grids
1978 New York, Paul Davis Press / Rizzoli, 1978 , 260x264 mm, 52p., broché sous couverture titrée. Illustré de 414 photographies en couleurs disposées régulièrement neuf par neuf sur 46 pages. Auer 606. (101934)
Phone number : +33 1 48 01 02 37
Geometric Figures and Color
Abrams New York 1979, 210x210mm, 48p offset couleur broché. (101935)
Phone number : +33 1 48 01 02 37
Cock fight dance
1980 New York. Rizzoli & Multiples. 1980, 108x108mm, 50p., broché. Photographies en couleurs d’un combat de coqs. (101940)
Phone number : +33 1 48 01 02 37
Six geometric Figures and all their double combinations
1980 Paris, Yvon Lambert 1980. (101941)
Phone number : +33 1 48 01 02 37
Phone number : +33 1 48 01 02 37
From Monteluco to Spoleto / December 1976
1984 Eindhoven, Van Abbemuseum, 1984, 250x250 mm, 36p., broché sous couverture illustrée. Narration du voyage sous forme de 360 photographies en couleurs 72x72mm, régulièrement disposées 9 par 9 sur chaque page, y compris les couvertures. (101944)
Phone number : +33 1 48 01 02 37
Four colors and all their combinations flash ink washes 20 février-19 avril
1987 Paris, Musée d'Art Moderne en collaboration avec Fabrizio Pozzilli Editore Roma, 1987, 38p offset couleur dos toilé noir 100 exemplaires. 245x175mm. (101946)
Phone number : +33 1 48 01 02 37
Phone number : +33 1 48 01 02 37
