Jeanne MALIVEL (Loudéac, 1895 – Rennes, 1926) Descent from the...
Jeanne MALIVEL (Loudéac, 1895 – Rennes, 1926)
Descent from the Cross, ca. 1922.
Woodcut
Height of the woodblock: 38 cm. Width: 24 cm. (Stains, scuffs, and foxing; creases in the margins; annotated in the margins and on the back in pencil).
The Musée départemental Breton, which holds a print, offers the following commentary:
“This woodcut dates from the period when Jeanne Malivel returned to Brittany. At the time, the artist was teaching at the École des Beaux-Arts in Rennes, where she specialized in woodcut. She also helped found the ‘Seiz Breur’ group in 1923. This woodcut, with its clearly medieval influences (see Philippe Le Stum, *Impressions bretonnes*, Palantines, 2005), brilliantly illustrates the revival of woodcut printing spearheaded, in particular, by the Seiz Breur in Brittany at that time. The layout is bold (the upper part of the cross is cut off) and creates a visual dynamic. It is also, of course, an expression of Jeanne Malivel’s faith. This engraving is a standalone plate that does not belong to an illustrated series (“Histoire de notre Bretagne,” “Raoul de Fougères,” etc.)” (Philippe Théallet, 2020). Source: @MDB
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Jeanne MALIVEL (Loudéac, 1895 – Rennes, 1926)
Descent from the Cross, ca. 1922.
Woodcut
Height of the woodblock: 38 cm. Width: 24 cm. (Stains, scuffs, and foxing; creases in the margins; annotated in the margins and on the back in pencil).
The Musée départemental Breton, which holds a print, offers the following commentary:
“This woodcut dates from the period when Jeanne Malivel returned to Brittany. At the time, the artist was teaching at the École des Beaux-Arts in Rennes, where she specialized in woodcut. She also helped found the ‘Seiz Breur’ group in 1923. This woodcut, with its clearly medieval influences (see Philippe Le Stum, *Impressions bretonnes*, Palantines, 2005), brilliantly illustrates the revival of woodcut printing spearheaded, in particular, by the Seiz Breur in Brittany at that time. The layout is bold (the upper part of the cross is cut off) and creates a visual dynamic. It is also, of course, an expression of Jeanne Malivel’s faith. This engraving is a standalone plate that does not belong to an illustrated series (“Histoire de notre Bretagne,” “Raoul de Fougères,” etc.)” (Philippe Théallet, 2020). Source: @MDB
Estimate
Time, Location
Auction House
