Ruelle dans une ville avec vue sur l'église
Roger Lersy
Painting - 92.5 x 65 x 2 cm Painting - 36.4 x 25.6 x 0.8 inch
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Le déjeuner,
1954
Roger Lersy
Fine Art Drawings : Watercolour
23.5 x 31.5 cm 9.3 x 12.4 inch
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
23.5 x 31.5 cm 9.3 x 12.4 inch Height x Width x Depth
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: France
Original ink drawing signed in the lower right corner executed on a "biographical sheet" of the Plastic Arts stand of La Kermesse aux Etoiles.
History :
Under the patronage of Madame la Maréchale Leclerc, the first Kermesse aux Etoiles was organised in Paris in 1948 by the social works of the Second Armoured Division, chaired by Madame Massu.
Set up in the Tuileries Gardens, visitors could, for three days and three nights, wander among the many stands and tents dedicated to the army and the Colonies, but also occupied by major advertising brands.
Theatres, cinemas, shows, sports areas, merry-go-rounds, kindergartens, bars, refreshment stands, restaurants, tombola, etc. Everything was planned for the party!
The Kermesse owed its success above all to the presence of numerous film and entertainment stars, but also writers.
Everyone could approach their idol and have the booklet they had bought at the entrance signed.
In 1951, Jacques Fillacier and André Hambourg had the idea of having artists participate in this popular event. Paul Charlot, Henri Plisson and Paul Feugereux, director of the ABC School of Drawing, were associated with the project.
None of them could have predicted the success of the event, as it was the first time that painters were going to "show themselves" and "work" in public.
Nevertheless, nearly a hundred artists accepted the idea of this adventure. Among them Léonard Foujita, Marie Laurencin, Maurice Utrillo, to name but a few.
The Fine Arts Stand at the Kermesse aux Etoiles opened its doors in 1952.
Installed on platforms, the artists worked actively in front of a large crowd.
They took to the game and did not hesitate to add a quick drawing or a watercolour to their signature.
The success was immediate!
Each sheet was sold symbolically and marked with a large red or blue stamp "Kermesse aux Etoiles". The following two years, the stamp was more discreet.
In 1953, the public was even more numerous and the artists were assisted in the sale and presentation of their works by renowned dealers and auctioneers.
Several collections of 25 drawings and watercolours were put together and offered for sale.
For artists who could not attend, the organisers had sheets printed with their names, a short biography and the mention of the Kermesse au Etoiles Plastic Arts Stand, leaving a large space for the work.
The painters could then work in their studios.
Read more
History :
Under the patronage of Madame la Maréchale Leclerc, the first Kermesse aux Etoiles was organised in Paris in 1948 by the social works of the Second Armoured Division, chaired by Madame Massu.
Set up in the Tuileries Gardens, visitors could, for three days and three nights, wander among the many stands and tents dedicated to the army and the Colonies, but also occupied by major advertising brands.
Theatres, cinemas, shows, sports areas, merry-go-rounds, kindergartens, bars, refreshment stands, restaurants, tombola, etc. Everything was planned for the party!
The Kermesse owed its success above all to the presence of numerous film and entertainment stars, but also writers.
Everyone could approach their idol and have the booklet they had bought at the entrance signed.
In 1951, Jacques Fillacier and André Hambourg had the idea of having artists participate in this popular event. Paul Charlot, Henri Plisson and Paul Feugereux, director of the ABC School of Drawing, were associated with the project.
None of them could have predicted the success of the event, as it was the first time that painters were going to "show themselves" and "work" in public.
Nevertheless, nearly a hundred artists accepted the idea of this adventure. Among them Léonard Foujita, Marie Laurencin, Maurice Utrillo, to name but a few.
The Fine Arts Stand at the Kermesse aux Etoiles opened its doors in 1952.
Installed on platforms, the artists worked actively in front of a large crowd.
They took to the game and did not hesitate to add a quick drawing or a watercolour to their signature.
The success was immediate!
Each sheet was sold symbolically and marked with a large red or blue stamp "Kermesse aux Etoiles". The following two years, the stamp was more discreet.
In 1953, the public was even more numerous and the artists were assisted in the sale and presentation of their works by renowned dealers and auctioneers.
Several collections of 25 drawings and watercolours were put together and offered for sale.
For artists who could not attend, the organisers had sheets printed with their names, a short biography and the mention of the Kermesse au Etoiles Plastic Arts Stand, leaving a large space for the work.
The painters could then work in their studios.
Imagine it at home
Discover more by the artist
Presentation
French painter born in 1920 in Paris. He is a painter, lithographer and composer. He died in Forges-les-Bains (Essonne) in 2004. He belongs to the School of Paris and to the Young Painting movement.
Studying the piano from his earliest childhood, Roger Lersy, son of a decorator, entered after his schooling and for a period of three years at the Superior School of Applied Arts Duperré in Paris. Having then started to paint, he then worked as a decorator, however between 1950 and 1954 pursuing higher musical studies with Noël Gallon, continuing after 1954 - the year when galleries, both in Paris and abroad, began to l '' exhibit regularly -, practice painting (canvases, watercolors, tapestries boxes) and music together.
From 1961 to 1968, Roger Lersy lived in the United States. From 1970 he had a series of personal exhibitions, among others in Paris, London, Geneva, Houston, Los Angeles and New York5. Roger Lersy was initiated into the first degree of Freemasonry at the old Scottish Rite and accepted in 1979, in the Grand Val lodge, meeting at the time in Perreux-sur-Marne, Orient de Sucy-en-Brie (later Orient de Créteil, Val-de-Marne) of the Grand Lodge of France, of which the actor Jean Franval was for a time the great provincial inspector.
Leading two careers at the same time, Roger Lersy left paintings which are seen all “of rhythms and tremors […] In his canvases, the motif develops in a melancholy line with well-concerted chords, pauses and cadences. One could define Lersy as a baroque expressionist ”. For Bernard Dorival, Roger Lersy is with Gabriel Dauchot, Jean Commère and Raymond Guerrier among "the most noted champions of this expressionism which is part of the continuation of Bernard Buffet's wretchedness".
Lesser known parts of Roger Lersy, he was also interested in mosaic, sculpture, stained glass and undertook creations for public (town halls, colleges, etc.), private (companies) and religious buildings.
Roger Lersy does not belong to musicalism in painting in the sense that the word “musicalism” historically refers to a group of painters formed around Henri Valensi from 1932. But if we admit with Raymond Bayer in his Revue d ' aesthetic that "musicalism is not a school but a doctrine of art, a body of knowledge constituting a system", the term can then, by extension, be compared to Roger Lersy in whom music and aesthetic effects (his arabesques and hatched lines of an “incredible virtuosity” for one, its backgrounds of streaks always of a “spectacular virtuosity” for the other), remain in permanent bond.
Roger Lersy's son, François Lyres, is also a designer, painter and musician.
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