Mireille Glodek Miailhe 'The Guitarists' Original Watercolor Signed 1/30 1960

Description: [20th century ART - ENGRAVING ORIGINAL SIGNED BY THE ARTIST]Mireille MIAILHE 1921-2010 [born GLODEK Mireille]Born Mars 20, 1921 in Paris, died December 6, 2010; painter, illustrator, teacher, resistance fighter, communist activistMireille Glodek was born in Paris, into a Jewish refugee family from Eastern Europe. From a JEUNE age, she was attracted to the visual arts and spent her time drawing. She completed her secondary education at the Lycée Lamartine in Paris and began painting at the age of fifteen. A merchant in the Jewish quarter of Paris, her father Félix loved art and encouraged his daughter. Mireille followed the advice of the painter Mané-Katz, this friend of Chagall gave him his first easel.In the 1930s, she attended the Secular Youth Hostel Center, created in the wake of the Popular Front. She made lasting friendships there and her political awareness was awakened in this environment where anti-fascism, a sense of solidarity and social justice reigned. After her baccalaureate, Mireille wanted to enter the Fine Arts. But the war prevented him from pursuing his dream.In 1940, during the exodus, she was forced to flee the capital. During the dark years, the Glodek family had to separate and never stay in one place for too long to escape anti-Semitic persecution. Mireille thus passed through Lyon, Grenoble, Rodez, Perpignan, Toulouse, Banyuls…It was at this time that she met Jean Miailhe, a Languedocian born in Cabrespine, communist activist, prisoner of war, escapee, and resistance fighter. With Jean-Pierre Vernant and Victor Leduc, these three former activists of the Communist Students of Paris and the Federal Students' Union organized the resistance in the south of France. Mireille never left Jean's side and followed him to Toulouse where he was Commander Garry, the deputy of Jean-Pierre Vernant, military departmental leader of the Southern Liberation movement. She launched herself alongside them into clandestine action against the occupier by becoming a liaison agent. She carried everything: messages, weapons, money, medicine. During certain battles, she showed courage by not hesitating to pick up the wounded. She worked in the social service of the French Forces of the Interior. For some time, Jean and Mireille were wanted by the Gestapo. Jean-Pierre Vernant and Jeanne Modigliani will remember Mireille from those years. Often mistaken for a JEUNE gypsy, she loved walking barefoot and singing flamencos.While carrying out clandestine actions, she continued to create. For some time, she took refuge at the sculptor Aristide Maillol in Banyuls. The artist granted him hospitality thanks to the complicity of Dina Vierny, a friend from the Youth Hostels, who became the sculptor's muse and model. Mireille drew Maillol, it was even the theme of her first works exhibited in November 1941 in a Grenoble gallery. During her stay in Lyon, she devoted long hours to drawing the skinned people in the morgue. From 1943, Mireille's painting took on more modern tones. When she was in Toulouse, she took her landlady as a model. The Woman with the Rooster (1944), a painting of fierce and cheerful humor, represents the bald and quarrelsome old woman who had a chicken as a pet.At the Liberation, back in Paris, she married Jean Miailhe. They will have two daughters, Florence and Manuelle, born in 1956 and 1957. She devoted her life to painting and drawing. She painted on political and social themes. His very original series Les Veuves evokes the death of his comrades during the war. For her series Les Halles (around 1948), Mireille got up for months at 4 a.m. to go and stand among the flower and vegetable sellers.At the same time, she was active in the French Communist Party, which she joined after the Liberation. From 1944, she was cell secretary in Paris. She participated in a collective workshop in Ivry where frescoes and decorations were created for party propaganda. She was a member of the office of the Peace Committee of her Croulebarbe-Arago-Gobelins district, she was also part of the Union of French Women (UFF), of France-URSS, and of the Union of Plastic Arts from 1947. For several years, she produced numerous drawings and illustrations for Lettres Françaises and Action. Like many communist activists, he sometimes sold Humanity.In 1946, she exhibited at the Salon des sous 30 ans, which subsequently became the Salon de la JEUNE Peinture in which she also participated. From 1953, she was even part of the committee which chose the works for the next Salon. She exhibited in 1947 with Boris Taslitzky and Jean Amblard at the Gentilhommière gallery. In 1949, his first personal exhibition was held at the Galerie du Bac. Louis Aragon, Francis Jourdain and Georges Besson came to encourage him. In 1949, the Museum of Modern Art directed by Jean Cassou acquired one of his paintings. In 1953, the State purchased another work by Mireille Miailhe.With André Fougeron, Boris Taslitzky, Jean Amblard, Jean Vénitien and Gérard Singer, Mireille Miailhe was one of the artists representing French socialist realism or “New realism”. Between 1947 and 1954, this pictorial movement was supported by the French Communist Party. In the magazine Arts de France in 1948, the painter Jean Milhau, at the origin of the name “New Realism”, defined this JEUNE movement: “A current is emerging which, without denying the achievements of culture and technique modern, denies the primacy of formal research, advocates a return to objective reality and the subject, and emphasizes the social content of all reality. Mireille Miailhe was the first painter to receive the Fénéon prize which rewarded artists under thirty-five years old, thanks to the support of Georges Besson and Louis Aragon. Like Irène Joliot-Curie, Lucie Aubrac, Hélène Langevin, and Marie Bell, Mireille Miailhe was part of the “avant-garde” of women scientists, artists and intellectuals put forward by the PCF. In 1948, she was invited to draw miners in northern France on strike. In 1950, with Boris Taslitzky, André Graciès, Gérard Singer and Louis Bancel, she created the 350 m² frescoes which decorated the PCF congress hall in Gennevilliers. In January 1952, Mireille Miailhe and the painter Boris Taslitzky were invited by the Algerian Communist Party. The objective of the two artists was to produce a painting report on the living conditions of the population. Mireille notably attended the trial of the 56 of Blida. She drew a lot and took notes. The stay of the two artists lasted two months. Returning to Paris, she created her final works. The two artists presented their work at the Galerie André Weil, in the form of an exhibition-report “Algeria 52” whose denunciation caused a scandal. More than 60 drawings and some 40 paintings testified to the political and social tensions in Algeria on the eve of the insurrection. In May 1953, Mireille Miailhe participated in the exhibition “From Marx to Stalin” organized by the PCF at the Maison des metallurgistes in Paris.He was asked to go and paint Aragon's portrait while he was correcting the proofs from Crazy Elsa in 1963. In his novel, Blanche ou l'oubli (1967), Aragon writes a beautiful paragraph about Mireille Miailhe whom he describes as "a woman painter, of great talent, whose painting pleases me beyond what is expressed.”From 1957, Mireille Miailhe's exhibitions met with a growing response: Galerie Saint-Placide (1959-1962), Galerie Katia Granoff (1965), Galerie de Saxony (1967), Galerie Marigny (1971), Artcurial (1977). She was linked to this Artcurial gallery for several years. She also exhibited in the suburbs and in the provinces: at the Saint-Ouen museum (1965), in 1967 in Lille, in 1965 at the Galerie Maurice Œillet in Toulouse, in 1985 and 1996 at the Espace Croix Baragnon in Toulouse which she inaugurated , in 1989 at the Firmin Bauby Foundation in Perpignan. She also held exhibitions abroad: Switzerland, Portugal, England, Romania, Poland, Hungary, USSR, Czechoslovakia, Italy.At the same time, Mireille Miailhe continued her illustrative works. She produced lithographs and illustrations, notably for Francis Jourdain (Amour de Paris, 1955, published by Editions du Vent d'Arles) or Pierre Gamarra (The Rose of the Karpathians, 1955). Within the framework of the 1% law, Mireille Miailhe also produced numerous decorations (mosaics, frescoes, ceramics, sculptures). In 1958, she created a fresco for a nursery school in Montreuil. The painting which, since 1962, has adorned the Paul Eluard school group in Blanc Mesnil, was executed by the artist in lava enamels from Volvic. The fresco created by Mireille Miailhe in a school in La Courneuve in the 1960s is being rescued, the buildings being earmarked for demolition.In 1968, even before the Soviet repression in Czechoslovakia, she left the PCF “on tiptoe” as reported by the authors of his biography published in 2007.During the 1980s, she taught at the National School of Decorative Arts, ENSAD, rue d'Ulm.Self-taught, Mireille Miailhe created all her life, dividing her time between her two workshops, one in Paris, the other in Cabrespine at the foot of the Montagne Noire.Ref. Master/ notice MIAILHE Mireille [née GLODEK Mireille] by Anysia L’Hôtellier, version posted online on May 4, 2014, last modification on April 6, 2022.Mireille GLODEK-MIAILHE 1921-2010"The Guitarists" Original etchingTechnically a lot of vigor, strongly bitten plate,well marked ink, with strong reliefs(1/30) Here a beautiful proof on beautiful thick Papier d'Auvergne type paper,signed and justified by the artist under the subject in black pencilaround 1960 - Free sheetSheet size: approximately 65 x 49.5 cmFormat on the board (bowl): approximately 44 x 39.5 cmVery good general condition, clean and fresh paper, barely yellowed, without foxing or stains,some minimal stitching in the margins, traces of handling unavoidable or minor creases in the margins see visuals... Rare and beautiful engraving! It was at this time that she met Jean Miailhe, a Languedocian born in Cabrespine, communist activist, prisoner of war, escapee, and resistance fighter. With Jean-Pierre Vernant and Victor Leduc, these three former activists of the Communist Students of Paris and the Federal Students' Union organized the resistance in the south of France. Mireille never left Jean's side and followed him to Toulouse where he was Commander Garry, the deputy of Jean-Pierre Vernant, military departmental leader of the Southern Liberation movement. She launched herself alongside them into clandestine action against the occupier by becoming a liaison agent. She carried everything: messages, weapons, money, medicine. During certain battles, she showed courage by not hesitating to pick up the wounded. She worked in

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Location: Fontenay sous Bois

End Time: 2025-01-17T06:22:14.000Z

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