ARTEBISE, THE LOST SKETCHBOOK<\/p>\n
—————————————————————————–Zebra Crossing——————————-<\/p>\n
In 1995, in anticipation of a potential exhibition in Paris, I prepared a monographic sketchbook, the only one <\/p>\n
until then, featuring drawings of the French avant-garde from the early last century, <\/p>\n
which I named \u201cArtebise\u201d. A hybrid word, a blend of ‘Art’ and ‘Heurtebise’, the <\/p>\n
name of the angel who accompanied Jean Cocteau from the day he met Picasso. In <\/p>\n
the sketchbook featured multiple scenes with images of Edith Piaf, Nijinsky, Jean Cocteau <\/p>\n
and other artists of the era, as well as some works on \u201cParade\u201d, a text by Cocteau <\/p>\n
adapted for the stage, with a libretto by Apollinaire, sets by Picasso, and music by Erik Satie.<\/p>\n
The fact is that the sketchbook, in the hands of the wrong person, never reached the gallery in <\/p>\n
Paris, nor was it returned to me. The excuses concerning this and other works dragged on indefinitely, and <\/p>\n
even today they are in court. After a few years, the sketchbook appeared disbound at a <\/p>\n
auction house in Barcelona, not the entire sketchbook, of course, just three or four pages. A collector <\/p>\n
who bought a couple of them contacted me via the website, because it seemed strange to him <\/p>\n
that behind the drawing he had bought, there was another of the same quality that was not <\/p>\n
signed. I enlarged the image on the computer because I had doubts about the signature, for <\/p>\n
as not all pages in a sketchbook are typically signed, and well, the signature that appeared on the drawing, <\/p>\n
was stamped with a stamp, made from one of my signatures.<\/p>\n
Never again the nightmare, fragmented by the ravenous hand of greed, which turned what was a <\/p>\n
complete narrative into a fragmented discourse, with the ambition of profiting from it. Less than a month ago, <\/p>\n
the thought crossed my mind to include the forty-two sketchbooks I have stored <\/p>\n
at home, dating from 1989 to 2013, in the donation of my archive and the Art archive to the <\/p>\n
city’s institutions, because I was haunted by the idea that one day, the four thousand drawings <\/p>\n
that comprise them would end up on the market for sale, should they be fragmented <\/p>\n
these sketchbooks.<\/p>\n
A phone call from my friend Sebasti\u00e0 Machado, from Reus, alerted me that on a <\/p>\n
website, a handful of my drawings were for sale, all of the same size. I <\/p>\n
checked, and indeed, there were twelve of the twenty pages from the lost sketchbook. The website belongs to a <\/p>\n
respectable gallerist, Joaquim Casadevall, from Montblanc. I called him and immediately <\/p>\n
we reached an exchange agreement; exchanges have always been part of transactions in the <\/p>\n
art world and are often very fruitful. Furthermore, he told me he had sold one to a former gallerist <\/p>\n
from Tarragona, a very pleasant person whom I have known for some time, \u00c0ngel Anyor, with whom I did not <\/p>\n
find it difficult to reach an agreement. Thanks to chance and to friends, now to the partially <\/p>\n
recovered sketchbook will be added some preliminary studies I have preserved and photographs of what the <\/p>\n
complete sketchbook was, and with this text and some new drawings, it will become an artist’s book, <\/p>\n
which will be added to the donation I have already made to the Municipal Library-Hemeroteca and the Museum <\/p>\n
of City History, and the cession of my private collection to the Museum of Modern Art of the <\/p>\n
Provincial Council.<\/p>\n
——————————————————-Josep Maria Rossell\u00f3—————————————-<\/p>\n","protected":false},"excerpt":{"rendered":"
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