Tag: lithography

George Tooker

George Tooker, “Voice”, Lithograph on Rives Gray Paper, 1977, 11 x 9 ¾ Inches, Pennsylvania Academy of the Fine Arts

The “Voice”  by George Tooker shows two men on either side of a wall or door. While the viewer is privy to their close proximity to one another they seem unsure about one another’s existence. The man on the left has placed his head against the barrier as if listening for movement or communication. On the right, a second man presses his open mouth to the other side but seems silent and frozen in fear. Tooker cropped the image closely so that we focus on the relationship between the two men as they breath quietly and await contact. A delicate tension is established between the two figures as they wait.

This focus on the futility of human communication, one of Tooker’s most powerful commentaries, was originally done by him in a series of paintings entitled “Voice I” (painted in 1963, now in a private collection) and “Voice II” (done in egg tempera in 1972 and now in the National Academy Museum and School).

Claus Oldenburg

Claus Oldenburg, “Pizza Pie”, Lithograph on Paper, 1964, Tate Museum, London

Claus Oldenburg is an American sculptor, best known for his public art installations typically featuring large replicas of everyday objects. Another theme in his work is soft sculpture versions of everyday objects. Many of his works were made in collaboration with his wife, Coosje van Bruggen. Van Bruggen died in 2009 after 32 years of marriage. Oldenburg lives and works in New York.

Raphael Sadeler II

Raphael Sadeler II , “Saint Michael the Archangel”, Engraving, 1604

The Sadeler family were  the largest, and probably the most successful of the dynasties of Flemish engravers that were dominant in Northern European printmaking in the later 16th and 17th centuries, as both artists and publishers. As with other dynasties such as the Wierixes and Van de Passe family, the style of family members is very similar, and their work often hard to tell apart in the absence of a signature or date, or evidence of location. Altogether at least ten Sadelers worked as engravers, in the Spanish Netherlands, Germany, Italy, Bohemia and Austria.

Diego Romero

Prints and Ceramics by Diego Romero

After graduating from high school, Romero attended the Institute of American Indian Arts (IAIA) in Santa Fe, New Mexico. IAIA is the only four-year degree fine arts institution in the nation devoted to contemporary Native American and Alaska Native arts. He later attained degrees from Otis College of Art and Design (BFA) and University of California, Los Angeles (MFA).  He now lives and works in Cochiti, New Mexico.

Since his graduation from UCLA in 1993, Romero has developed an extensive exhibition record with artworks that often humorously contrast historical Pueblo traditions with contemporary notions about super heroes and comics. His work is found in significant public collections such as the Metropolitan Museum of Art, the Cartier Foundation, the Peabody Essex Museum, the Denver Art Museum, the Heard Museum, the British Museum, and the Scottish National Museum.

Frank Stella

Frank Stella, “Bene Come il Sale (As Good as the Salt)”, Relief Printed Etching, 1989, Edition of 50, 147.3 x 182.9 cm, Private Collection

Frank Stella’s brightly colored and captivating “Bene Come il Sale (As Good as the Salt)” speaks to Stella’s artistic inclination towards nonrepresentational painting. Figures exist within the same space without any relationship, the only aspect tying the composition together being the beautifully vibrant colors and textures.

One of a series of fifty, this 1989 color etching was printed at the Tyler Graphics workshop in Mount Kisco, New York. A working institution for thirty-seven years, it was known for its printing of mammoth, complicated prints. In addition to work by Stella, the press printed work for both David Hockney and Roy Lichtenstein, among other famous artists. In January of 1985, owner and printmaker Ken Tyler retired at the age of sixty-nine and closed the press; Tyler Graphics continues today as a gallery and a print distributor.

Brian Kelly

Brian Kelly, “Social Injustice”, 2014, Silkscreen, 40.6 x 60.1 cm, Private Collection

Professor Kelly is currently Chairman of the Department of Visual Arts at the University of Louisiana at Lafayette where he also serves as the Area Head of the printmaking program and Coordinator of Marais Press. Kelly is a full professor, holds the University’s Coca-Cola/BORSF Endowed Professorship in Art, and is a University of Louisiana at Lafayette Distinguished Professor.

Brian Kelly’s work takes the viewer on a journey into the unseen and the unknown. His work draws on influences from environments in Louisiana, Utah, New Mexico, Montana and Colorado. These representational narratives talk about specific experiences and places that are both social, personal and political in nature. Kelly adopts and personifies animal forms as specific characters within these narrative events to speak metaphorically about personal and social issues.

Tom Kenyon

Illustrations by Tom Kenyon, “William Walker, the Man who Saved the Winchester Cathedral”, Lithographs

Children’s book author and illustrator, and former art director, Tony Kenyon’s lithographic prints, of William Walker, are part of a series of works entitled ‘Winchester Legends’ using different graphic art techniques. Kenyon was intrigued by Walker’s legendary feat and the strange, subterranean and submerged world under the Cathedral.

William Walker MVO (1869–1918) was an English diver famous for shoring up the southern and eastern sides of Winchester Cathedral. In 1887, he began diver training at Portsmouth Dockyard. He worked through the roles of diver’s attendant and diver’s signal man, passing his medical exam and deep-water test to qualify as a deep-water diver in 1892.

In his time, William Walker was the most experienced diver of Siebe Gorman Ltd. In 1906–1911, working in water up to a depth of six metres (20 feet), he shored up Winchester Cathedral, using more than 25,000 bags of concrete, 115,000 concrete blocks, and 900,000 bricks.

Before his work, the cathedral had been in imminent danger of collapse as it sank slowly into the ground, which consisted of peat. To enable bricklayers to build supporting walls, the groundwater level had to be lowered. Normally, the removal of the groundwater would have caused the collapse of the building. So, to give temporary support to the foundation walls, some 235 pits were dug along the southern and eastern sides of the building, each about six metres deep. Walker went down and shored up the walls by putting concrete underneath them. He worked six hours a day—in complete darkness, because the sediment suspended in the water was impenetrable to light.

After Walker finished his work, the groundwater was pumped out and the concrete he had placed bore the foundation walls. Conventional bricklayers then were able to do their work in the usual way and restore the damaged walls.

Charles Émile Jacque

Charles Émile Jacque, Untitled, (Man Reading Beside a Skull), Etching, 1866, Attributed on the Plate to José de Ribera

Etching on fine wove (Japan) paper, trimmed with narrow margins and lined on a conservator’s support sheet; Size: (sheet) 13.4 x 12.3 cm; (plate) 12.1 x 11.3 cm; (image borderline) 11.5 x 10.5 cm: Inscribed within the image borderline at the lower left with the artist’s initials, “C. J.” (shown in reverse on the book page) and “ARibera 1621”; numbered outside the image borderline at lower left: “1.”