Pré Nian Press
Pré Nian Press
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The work published under the imprint Les Cahiers du Pré Nian at the end of 1978, bearing the simple title Number Zero, was a portfolio of screen prints resulting from the collaboration between two artists from Nantes, Guy Boulay and Bertrand Bracaval.
The work published under the imprint Les Cahiers du Pré Nian at the end of 1978, bearing the simple title Number Zero, was a portfolio of screen prints resulting from the collaboration between two artists from Nantes, Guy Boulay and Bertrand Bracaval.
While the former’s studio was already equipped for screen printing, the latter’s gradually evolved into an artisanal print shop through the acquisition of letterpress and intaglio presses; a “horned beast”—a lithographic press—is currently being assembled.
While the former’s studio was already equipped for screen printing, the latter’s gradually evolved into an artisanal print shop through the acquisition of letterpress and intaglio presses; a “horned beast”—a lithographic press—is currently being assembled.
The initiators did not imagine that their first experiment would be followed by some forty others, spanning nearly fifty years.
The initiators did not imagine that their first experiment would be followed by some forty others, spanning nearly fifty years.
Today based in the village of Rétaud in Guenrouët, between Rennes and Nantes, Éditions Le Pré Nian has devoted itself to the creation of artists’ books and prints. The publishing house is equipped with a full range of tools enabling it to produce etchings, woodcuts and linocuts, as well as to compose and print texts by hand entirely in-house. This complete mastery of the production process allows for precise control over the desired effects and demands a high level of quality in the final result.
Today based in the village of Rétaud in Guenrouët, between Rennes and Nantes, Éditions Le Pré Nian has devoted itself to the creation of artists’ books and prints. The publishing house is equipped with a full range of tools enabling it to produce etchings, woodcuts and linocuts, as well as to compose and print texts by hand entirely in-house. This complete mastery of the production process allows for precise control over the desired effects and demands a high level of quality in the final result.
It is well known that artistic movements—and the avant-gardes in particular—are born from encounters, exchanges, and the freedom of relationships between artists, as well as with their “substantial allies,” the poets. Anaïs Nin emphasized that artists inspire one another: they form a shared ground, recognize each other, offer mutual support, challenge one another, and in doing so encourage each other to innovate and to push beyond their own limits.
It is well known that artistic movements—and the avant-gardes in particular—are born from encounters, exchanges, and the freedom of relationships between artists, as well as with their “substantial allies,” the poets. Anaïs Nin emphasized that artists inspire one another: they form a shared ground, recognize each other, offer mutual support, challenge one another, and in doing so encourage each other to innovate and to push beyond their own limits.
Micro-editions of artists’ books thus become genuine meeting places. From one connection to the next, friendships give rise to others, and Le Pré Nian has gradually been enriched by numerous links with authors from very diverse backgrounds: Belgian, Scottish, Hungarian, Québécois, Californian, Cypriot, and more recently Cameroonian…
Micro-editions of artists’ books thus become genuine meeting places. From one connection to the next, friendships give rise to others, and Le Pré Nian has gradually been enriched by numerous links with authors from very diverse backgrounds: Belgian, Scottish, Hungarian, Québécois, Californian, Cypriot, and more recently Cameroonian…
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