Italian family of typographers, engravers, publishers and print dealers. Members of the family were active in Venice and Padua in the 16th century and the early 17th. Most notable among them were Luca Bertelli (fl Venice, c. 1560; fl Padua, 1594), Orazio Bertelli (fl Venice, 1562–88), who was possibly Luca’s brother, and Ferdinando (Ferrando, Ferrante) Bertelli (fl Venice, 1561–72). It is difficult to determine the extent of Luca Bertelli’s participation in the execution of the prints he published; they were mainly historical, religious and mythological. Orazio Bertelli probably encouraged Agostino Carracci’s visit to Venice in 1582. Orazio’s engravings included the works of Federico Barocci, Domenico Tibaldi and Paolo Veronese, notably a Pietà (De Grazia, p. 125, no. 102). Ferdinando Bertelli was best known for his publication of a vast number of maps, by both Italian and foreign cartographers.DBI; Thieme–Becker D. De Grazia: Le stampe dei Carracci...
(b Veracruz, March 13, 1880; d Stamford, CT, Jan 10, 1961).
Mexican illustrator, writer, gallery owner, and publisher, active in the USA. He was the son of a wealthy Mexican lawyer and publisher. De Zayas started his career as an artist by providing drawings for his father’s newspaper in Veracruz. In 1906 he moved on to Mexico City’s leading newspaper, El Diario, but a year later, after the ascension of the dictator Porfirio Diaz, whom the newspaper had opposed, he fled to the USA. There he landed a position making caricatures for the New York Evening World. Shortly after his arrival in the USA, he came into contact with Alfred Stieglitz, who staged solo shows of De Zayas’s caricatures at his gallery Gallery 291 in 1909 and 1910, both of which proved to be huge popular successes.
In 1910 De Zayas traveled to Paris, where he stayed almost a year, scouting out adventurous forms of modern art for Stieglitz, notably the cubist work of Picasso and African sculpture. On his return, equipped with knowledge of European modern art and inspired by the work of the French modernist ...
French dealers and publishers. Aimé Maeght (b nr St-Omer, 27 April 1906; d 1981) first worked as a lithographic draughtsman and poster designer, joining the printing firm Robaudy in Cannes at the age of 20. In 1928 he married Marguerite Devaye (b Cannes, 25 April 1905; d 31 July 1977) with whom he opened a shop selling radios in 1932 while still working as a lithographer and advertising designer. In 1937 they opened the Galerie Arte in Cannes, where they exhibited the work of painters such as Georges Rouault, Jean Pougny, Roger Chastel, Henri Lebasque and Jean-Gabriel Domergue. With the encouragement of Pierre Bonnard, a friend of the Maeghts from 1941, and of Matisse and other artists and writers whom they met in the south of France, they decided to devote themselves to art publishing and dealing. In late 1945 they settled in Paris and opened the ...
(b Pulsnitz, nr Dresden, Jan 28, 1938).
German printmaker, publisher and art dealer. He was self-taught as an artist and produced his first prints and posters in 1960. In 1965 he founded the publishing house Edition Tangente in Heidelberg (now Edition Staeck). In his mass-produced posters, postcards and stickers, aimed at a large audience, he used mainly collage and photomontage techniques. In terms of the social–critical message, the relation between image and text is of prime importance: Albrecht Dürer’s portrait drawing of his 63-year-old mother (1514; Berlin, Kupferstichkab.) was provocatively reproduced on a poster with the caption ‘Würden Sie dieser Frau ein Zimmer vermieten?’ (see 1978 exh. cat., no. 45). In the 1970s, when he actively worked for the political left, he achieved a great deal through irony. He also made purely textual posters (e.g. ‘Die Reichen müssen noch reicher werden’ and ‘Die Mieten müssen steigen—wählt christdemokratisch!’; see 1974 exh. cat., pp. 89–90). In numerous exhibitions and through his publishing house, he attempted to display the political components of art, and this led to a collaboration with ...