1946 Offset Lithograph by Listed Artist Louis Icart PRESENCE OF THE LORD
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This is an offset lithograph after the hand colored engraving by listed artist Louis Icart title "Presence of the Lord". This piece illustrates a scene from from Le Reve (The Dream), the tale of the orphan Angélique Marie. Angélique's adopted father, the Monseignuer (Bishop) of the Beaumont Cathedral, has declined to give her permission to marry. In this scene, he is convinced of the orphan's purity, beauty, and innocence through divine revelation. He then concedes to give his consent for Angélique to marry her true love.
This offset lithograph was published in 1946 by L'Imprimerie Centrale. This image is example number 1364 from a limited edition of 3000. The paper measures 7.5"h x 5.5"w. The framed dimensions are "h x "w. A small lithographic image depicting the same scene from Le Reve is included with this piece.
Louis Justin Laurent Icart (1890 - 1950) was born in Toulouse, France. Toulouse was the home of many prominent writers and artists, including Henri de Toulouse-Lautrec. Icart entered the Ecole Superieure de Commerce de Toulouse University in order to continue his studies for a career in business, particularly banking (his father's profession). However, he soon discovered the play writings of Victor Hugo (1802-1885), which were to change the course of his life. Icart borrowed whatever books he could find by Hugo at the Toulouse library, devouring the tales, rich in both romantic imagery and the dilemmas of the human condition. It was through Icart's love of the theater that he developed a taste for all the arts. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served to preserve his name in twentieth century art history. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in the Art Deco era, and Icart became the symbol of the epoch. Yet, although Icart has created for us a picture of Paris life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, Francis Boucher and Jean Honore Fragonard. In 1914 Icart had met an effervescent eighteen-year-old blonde named Fanny Volmers, at the time an employee of the fashion house Paquin. She became his wife and a source of artistic inspiration for the rest of his life.