Lithograph on vélin paper. Paper size: 11.2 x 19.1 inches. Excellent condition, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Suites nº8, Rencontres, 1964. Published by Galerie Krugier et Cie, Genève; printed by Dumaret et Golay, Genève, November, 1964. Excerpted from the folio (translated from French), The original lithographs of "Suites N° 8" were composed in the following order by: Antes, Bertholo, Hockney, Luginbühl, Rancillac, Telemaque, Uhry (cover) on the occasion of the exhibition "Rencontres" at the Galerie Krugier et Cie, in Genève. "Suites No 8" was printed on the Dumaret et Golay presses in Genève, in November 1964, in number of MD examples, including CC luxury examples, numbered from I to CC, composed of VII signed original lithographs. They were printed on the presses of Cassé in Paris, Matthieu in Zurich and Golay in Genève. BERNARD RANCILLAC (1931-2021) was one of the pioneers of Narrative Figuration. Together with Hervé Télémaque and French critic Gérald Gassiot-Talabot, he co-organised the seminal exhibition Mythologies Quotidiennes at the Musée d'Art Moderne de la Ville de Paris in 1964, as both a reaction and rebuttal to American Pop art, signifying the beginning of the Narrative Figuration movement. After winning the prize for painting at the Paris Biennale in 1961, Bernard Rancillac stopped painting in the Informel and Abstract style, and introduced color and figuration to his painting. He used an episcope to transfer images from television, film and magazines onto canvas, and he used this technique for a series of 18 canvases displayed at the Galerie Blumenthal-Mommaton, providing social commentary on the political and significant events of the year 1966, which included the Vietnam War, Apartheid in South Africa, and the fight for contraception. Rancillac contributed to the events of May 1968 in Paris by producing politically charged prints at the Atelier Populaire des Beaux Arts. During the 1970s, Rancillac distanced himself from radical activism, and began to paint a jazz series, painting prominent figures of the jazz music scene such as James Brown, Charlie Parker and numerous jazz quartets. In 1985, he began the Cinémonde series, twenty-five canvases inspired by magazine covers representing the stars of cinema: Vivien Leigh, Rita Hayworth, Jean Harlow, and Michele Morgan.