Jean-Michel Atlan

Marquis de Ségur, Paris
Collection particulière, Paris

Paris, Musée d'Art Moderne de la ville de Paris, XIIIe Salon de Mai, 4-30 mai 1957; catalogue, illustré, no.12
Antibes, Musée Picasso, Atlan, juillet-août 1957; catalogue, planche 9, illustré
Paris, Musée national d'Art Moderne, Atlan, exposition rétrospective, 22 janvier-17 mars, 1963; catalogue, no.45, illustré

Bernard Dorival, Atlan, essai de biographie artistique, collection "Le musée de poche", Paris, 1962, planche 37, illustré
Jacques Polieri, Atlan, catalogue raisonné de l'oeuvre complet, Paris, 1996, p.275, no.381, illustré en couleurs

The colours are fairly accurate in the catalogue illustration although they are more contrasted and vivid in the original work. Under very close inspection a pinhead size hole is visible, located at 2 cm from the lower edge and 49 cm from the left edge. Two pinhead size paint losses are visible only under UV light inspection, located: - at 13 cm from the left edge and 36 cm from the lower edge - and at 6 cm from the left edge and 9 cm from the lower edge Under UV light inspection there is no evidence of any retouching. This work is in excellent condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

"Chez Atlan, ce n'est pas la musique qui suggère la danse mais cette dernière qui l'engendre. Le danseur qui s'élance, les bras écrivant des rythmes, plaquant des accords dans l'espace. Le peintre danse devant sa toile ... Je songe à la danse des derviches tourneurs, extraordinaire moyen de communication, pour eux, avec les rythmes cosmiques, ressaisissement du profond réel."
(in André Verdet, Atlan, Le musée de poche, 1956, Georges Fall, pp.38-39)