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56

Jasper Johns

Fizzles (Foirades) book

1976
The complete set of 33 etchings and aquatints (the double pages in colors), in- and hors-texte, text in English and French, with justification, on Richard de Bas watermark SB (the authors initials) and Jasper Johns, text by Samuel Beckett,
13 1/2 x 10 1/2 in (34.3 x 26.7 cm)
signed by the author and the artist on the justification, numbered XI/XXX (one of 30 artist's proofs in Roman numerals, the edition was 250), published by Petersburg Press, New York, in very good condition, bound in handmade paper (as issued), contained in linen-covered box with the lithographic liner in colors and purple silk tassel.
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The "fizzles" are eight short prose pieces written by Samuel Beckett:
Fizzle 1 [He is barehead]; Fizzle 2 [Horn came always]; Fizzle 3 Afar a Bird[1]; Fizzle 4 [I gave up before birth][2]; Fizzle 5 [Closed place]; Fizzle 6 [Old earth]; Fizzle 7 Still; Fizzle 8 For to end yet again. Some fizzles are unnamed and are identified by their numbers or first few words, which appear above in brackets.
Except for Still, which he wrote in English (1972), Beckett wrote the rest in French (1960) and translated them into English later. Because Beckett felt that the order of presentation was unimportant, each of the three publishers adopted a different one. In 1973, Johns met Beckett in Paris, where they agreed to work together on a version of Fizzles, with the understanding that Beckett would translate his French texts into English. Because Beckett gave Johns free rein to design the book, he decided to include only five fizzles, but in both languages. In order of appearance, Johns chose fizzles: 2, 5, 1, 6, and 4.

Jasper Johns

American | 1930

Jasper Johns is a painter and printmaker who holds a foundational place in twentieth century art history. Quoting the evocative gestural brushstroke of the Abstract Expressionists, Johns represented common objects such as flags, targets, masks, maps and numbers: He sought to explore things "seen and not looked at, not examined" in pictorial form.  Drawing from common commercial and 'readymade' objects, such as newspaper clippings, Ballantine Ale and Savarin Coffee cans, Johns was a bridge to Pop, Dada and Conceptual art movements.



Beyond the historical significance, each work by Johns is individually considered in sensuous form. A curiosity of medium led him to employ a range of materials from encaustic and commercial house paint to lithography, intaglio and lead relief.

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