Titre
Les cires et mannequins d'art de Pierre Imans. Statuaire Ceroplaste. [Beautiful trade-catalogue for mannequins of the highest standard].
Auteur
[Fashion]. Imans, Pierre.
Éditeur
Prix
€ 850,00
Détails
Paris, Bureaux et Salons d'Exposition Pierre Imans, 1926, 43,(1) pag., richly illustrated in b/w, sewn in original coloured and decorated wrappers, quarto (30,2 x 15,4 cm.).
Plus d'informations
= A beautifully preserved and fascinating catalogue for the mannequin sculptor and modeler Pierre Imans, showcasing his latest mannequins through 72 black and white photographs. Includes all kinds of men (only men), but also caricatures (a fat man, a thin, tall man, a boxer, a soccer player, a Bela Lugosi lookalike, a man with an extraordinary quiff, a heartily laughing man) and specific or typical men, such as a Charles Chaplin or a man of African-American descent. These mannequins were enhanced by the talents of the famous painter Clovis Camille Trouille, whose paintings incorporated surrealist elements with irreverent satire, drawing influence from Louis Aragon and Salvador Dalí while maintaining friendships with prominent Surrealists such as André Breton and Marcel Jean. He said this about his collaboration with Imans: “I went back to the Imans workshop, which created mannequins. I started by modeling faces and fitting glass eyes and dentures for the ‘laughing’ ones. The heads were made of wax. One day, the artists from this workshop held an exhibition. The management realized then that I was a painter. They put me in charge of makeup (eyebrows, lips). You can’t imagine the importance of make-up. How you can transform a face. For me, it was crucial. A unique experience. This work was routine; I could think about my painting. I stayed with Imans for forty years. I have the Medal of Labor.” A perfectly preserved copy. Originally a workshop tool, the mannequin became a showcase and display accessory for models in the 19th century, thanks to the work of Alexis Lavigne and Fred Stockman. In the history of mannequins in the first half of the 20th century, two names remain famous: Pierre Imans and Siegel-Stockmann. Pierre Imans is best known for his wax busts, which he presented with considerable success at the 1900 Universal Exhibition. Wax mannequins were becoming increasingly popular. Initially, only the head was visible, the rest of the body concealed by clothing. To produce these mannequins, wax sculptors poured hot wax from molds shaped like text before the hair and enamel eyes were fixed into the still-soft wax. At the 1911 Turin Exhibition, Pierre Imans received the grand prize for his mannequins with removable and articulated bodies. The mannequin then had both an anthropomorphic face and body. The Pierre Imans company continued to innovate, notably by creating new materials. In 1922, they created a new material, carnesine, which replaced wax, whose resistance to heat under electric light had become problematic. In Pierre Imans's "Artistic Hobbies," the firm describes its busts as follows: "Made using a 'Cérolaque' composition, Pierre Imans display busts do not have the fragility of the plaster busts commonly sold by some manufacturers. Cérolaque busts have the appearance of bisque or porcelain; they are resistant to all temperatures, unalterable, and stains are washable with soapy water. Furthermore, the Cérolaque composition allows for enhancing facial colors using the makeup typically employed by ladies. This added make-up is removed with pure water, making it possible to match the cheek color to the shades of the hat." The Pierre Imans firm, then located on Rue Crussol, sent its clients photographs of its bust models.
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