Lithograph on Arches Paper by Pierre Courtin, December 27, 1976


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Pierre Courtin, 27 DÉCEMBRE 1967, 1976
Lithograph on Arches paper
Work signed by the artist (pencil)
Sheet dimensions 56/44

Pierre Louis Courtin was born in 1921 in France, died in 2012. He was a painter and engraver. In 1939, Pierre Courtin took engraving lessons at the Orléans Regional School of Fine Arts. In 1942 he came to Paris, where he studied with Lucien Pénat at the École Nationale Supérieure des Beaux-Arts. In 1944 he was in the Ranson Academy, where Francis Gruber was the proofreader. He was a member of the Jeune Gravure Contemporaine group from 1946 to 1956. He worked for a time with Jacques Villon and was a printer at Georges Leblanc’s atelier. In 1953 he took part in the São Paulo Biennale. In 1957 he presented a solo exhibition at the Jeanne Bucher gallery in Paris. In the 1960s, Courtin exhibited at the Stedelijk Museum in Amsterdam in 1964, at the Ulm Museum and Saidenberg Gallery in New York in 1966, and at the Arts Club in Chicago in 1967. In 1971, the Benador gallery in Geneva presented his paintings, gouaches and engravings. Important exhibitions of his works took place successively in Paris, at the gallery La Hune 25 years of engraving, in 1972, at the castle-museum in Annecy, in Montbéliard and at the Worpswede museum in Germany, and in various cities in France. In the years 1974-1981 he produced several tapestry caricatures, including one measuring 110 m2 for the International Labor Office in Geneva. In a 1992 article titled Stuttering of Desire, he published unpublished drawings and poems in the art journal Trou. Although Pierre Courtin was a painter, he also fulfilled himself as an engraver, using mainly a chisel to create small reliefs with insects and animals. His engravings are printed in small copies, rarely similar, and his material occupies an important place in the history of art.

Work made on Arches paper, dated to the 1960s. It is a watercolor paper produced only by traditional methods on cylinder presses, thanks to which it has a regular texture. Cotton fibers are evenly distributed, which makes the structure of the paper more stable, resistant to deformation. It is covered with a layer of natural gelatin, so it can be stretched without the risk of tearing. It also maintains the natural intensity and luminosity of colors, except for paints with a natural tendency to penetrate the structure of the paper.

Original vintage condition.

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    Pierre Courtin


    27 DÉCEMBRE 1967