Aldo Crommelynck first met Picasso as a rising printmaker in the Atelier Lacouriere. As with Lacouriere previously, Picasso would create extensive an series in close collaboration with Crommelynck. The 347 Series, named for the number of etchings created for it, was completed in 1968 and caused some stir in Paris with its often erotic themes. The 156 Series, created between 1970 and 1972, was the last major print series Picasso created.
Crommelynck began his relationships with many of the preeminent modern artists there, such as Miró, Léger and Matisse. He left the atelier in 1955, having already established himself as a creative and technically meticulous printer. Along with his brothers, he opened his atelier in Paris, and continued to work with Picasso. In fact, when the artist moved to Mougins, Aldo and Piero set up a printing workshop nearby to accomodate his work, and would print all of Picasso’s etchings until the end of the artist’s life in 1973.
Learn more about Aldo Crommelynck at our exhibition PICASSO – Unique Proofs from His Ateliers at Galerie Michael, May 5 – June 5, 2012.
Untitled (From 347 Suite), 1968 Sugar-lift aquatint on Rives BFK wove paper.
Sable Mouvant: Peintre et Modèle Accoudé (Quicksand: Painter and Leaning Model), 1964, Aquatint and drypoint on Japon paper.
Sable Mouvant: Deux Femmes au Miroir (Quicksand: Two Women at the Mirror), 1965 Aquatint, etching and drypoint on Japon ancien.
Sable Mouvant: Peintre Debout à son Chevalet, avec un Modèle (Quicksand: Standing Painter at his Easel, with a Model), 1964 Aquatint on Japon paper.
Belle jeune femme à sa toilette (Beautiful Young Girl at Her Vanity), 1971 Etching on wove paper. Plate 144 from Series 156.
Sur le Scene: Viellard Barbu S’Appretant a Poignarder une Femme Dans Son Lit, 1966 Etching and aquatint on Rives.
Le Peintre et son Modèle (from Dans l’Atelier), (The Painter and His Model, from In the Atelier),
Tags: 2012 exhibits, Picasso
