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 Erotic Icart Etching from Suite:
La nuit et le moment
(DELUXE EDITION WITH ORIGINAL DRAWING HANDCOLORED + SUITE IN SANGUINE)
This etching was published in 1946 as part of a suite of 25 etchings. Each sepia etching is hand signed by the artist and is accompanied by a Certificate of Authenticity from the author of the definitive research book on the art of Icart, "Louis Icart The Complete Etchings" by Nathan Daniel Isen.
Title:Garden Gala
Medium: Original Etching, Rare Limited Edition of 25 on Japon paper. Original Hand Signature, Louis Icart, in pencil.
Edition: La Nuit Et Le Moment, Claude Prosper Jolot de Crebillon, Georges
Guillot, Paris, 1946.
Note: A Very Rare and Recommended Artwork. Highly Documented.
Condition: This etching is in mint condition.
Paper Dimensions: 9-3/4" W x 12-1/2 " H
Image Dimensions 5-1/2" W x 7-1/2" H
Artist Bio:
Icart, Louis
French
1890 - 1950
Biography:
Louis Justin Laurent Icart was born in Toulouse in 1890 and died in Paris in 1950.Toulouse was the home of many prominent writers and artists, the most, of course being Henri de Toulouse-Lautrec. Icart entered the l’Ecole Supérieure de Commerce de Toulouse 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, though the urge to paint was not as yet as strong for him as the urge to act. 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 (more than the other mediums) to indelibly preserve his name in twentieth century art history. Art Deco, a term coined at the 1925 Paris Exposition des Arts Décoratifs, 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 this era of Art Deco, and Icart had become 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, François Boucher and Jean Honoré Fragonard. In 1914 Icart had met a magical, effervescent eighteen-year-old blonde named Fanny Volmers, at the time an employee of the fashion house Paquin. She would eventually become his wife and a source of artistic inspiration for the rest of his life. Icart’s portrayal of women is usually sensuous, often erotic, yet always imbued an element of humor, which is as important as the implied or direct sexuality. The beautiful courtesans cavort on rich, thick pillows; their facial expressions projecting passion, dismay or surprise, for the women of Louis Icart are the women of France as we have imagined them to be – Eve, Leda, Venus, Scheherazade and Joan of Arc, all wrapped up into an irresistible package.
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