«Leslie» is the artist's first
color woodblock print.
Utagawa Kuniyoshi, Returning from the Shin Yoshiwara by Moonlight, ca. 1834,
color woodblock print, 10 ⅝ x 15 inches.
Katsushika Hokusai, Kudan Ushigafuchi (Ushigafuchi at Kudan)(ca.1804 - 1807),
color woodblock print (nishiki - e), 18 × 24.5 cm.
Kawase Hasui, Carp Banner, Toyohama, Kagawa Prefecture,,
color woodblock print on laid paper, 1948.
Helen Frankenthaler, East and Beyond, 1973, eight -
color woodblock print on buff laminated Nepalese handmade paper Sheet: 31 3/4 × 21 in.
Kawase Hasui (Japanese, 1883 - 1957) Kiyomizu Hall, Ueno, from the series Twenty Views of Tokyo (Tokyo nijukei, Ueno Kiyomizudo), 1928,
Color woodblock print on paper.
In celebration of the acquisition of Helen Frankenthaler's breakthrough
color woodblock print, East and Beyond, 1973, the Art Center presents an exhibition contextualizing Frankenthaler's print.
Japanese Impressions:
Color Woodblock Prints from the Rodbell Family Collection is the first exhibition at the Clark to focus on the Institute's permanent collection of Japanese prints.
Color woodblock on cream wove paper, 22 x 14 1/2 in.
The exhibition spans more than a century of Japanese
color woodblock printing as represented by three generations of artists who produced prints from the 1830s to the 1970s.
Prange's exceptional hand -
colored woodblock artwork enlarges upon the expressive poetry.
Not exact matches
ESCHER»S
COLOR TOWER Here Livingstone and her Harvard colleague David H. Hubel took an Escher
woodblock, Tower of Babel (left), and
colored the white spaces light blue (center).
French director Sébastien Laudenbach works with pen, paper and paint, crafting his take on the Brothers Grimm fairy tale with simple lines and
color blocks that suggest — without replicating — Japanese
woodblock prints.
Each print is unique, and painstakingly produced by an arrangement of flower - shaped
woodblocks, each printed in a single
color.
Sumptuous
color plates showcase a dazzling array of achievements — including Shanghai School paintings, modern calligraphy, commercial art, 1920s and 1930s
woodblock prints, modern guohua (traditional ink and
color paintings), socialist realist paintings and other contemporary works.
She has her BFA from Herbert Lehman College, was trained in etching
color print with Maria Samosa (El Museo del Barrio, NYC, 1972 - 3), in viscosity printing with Arun Bose and Krishna Reddy (NYC, 1972 - 3), papermaking with Zarina Hashmi (NYC, 1979), and in Hanga (Japanese water based
woodblock printing) with Sensei Toshi Yoshida (Nagano — Japan, 1984).
Kawase Hasui (Japanese, 1883 - 1957), Asahi Bridge, Ojiya, from the series Souvenirs of Travel, Second Series, August 14, 1921,
woodblock print, ink and
color on paper.
Image: Helen Frankenthaler, Freefall, 1993, Hand - dyed paper in 15
colors and 12
color woodcut from 1 plate of 21
woodblocks, 78 1/2 x 60 1/2 inches (199.4 x 153.7 cm).
His unique
woodblock prints often illustrate social issues such as corruption, environmental damage, consumerism and social division, while his paintings depict simpler yet rich and symbolic motifs with explorations in
colors and textures.
Frankenthaler has worked with Pace Prints to create four Ukiyo - e plus woodcuts, including «Geisha» (2003), a twenty - three
color Ukiyo - e woodcut printed from 15
woodblocks on Torinoko paper and mounted onto Fabriano Classico, as well as «Book of Clouds,» a large - scale print using a combination of aquatint, woodcut and pochoir techniques.
Helen Frankenthaler, Snow Pines, 2004, thirty - four
color woodcut from sixteen
woodblocks on handmade paper.
Be sure not to miss an intricate and fantastical
woodblock and lithograph edition entitled Monkey Biz by Duke Riley at Graphicstuide / USF; seminal prints by prominent American Pop artists Roy Lichtenstein and Andy Warhol at Gregg Shienbaum Fine Art; a visually hypnotic nine -
color screen print by Jason Middlebrook at Flying Horse Editions; an impressive suite of etchings entitled The Caprichos by Emily Lombardo at Childs Gallery; striking figurative lithographs by American artist Robert Longo at Hamilton - Selway Fine Art; a bold woodcut by Royal Academy artist Eileen Copper at Rabley Contemporary Gallery UK; three - dimensional print sculptures by Lesley Dill and mixed media prints by Cuban artist Sandra Ramos at Tandem Press; a series of haunting portraits by the American artist Monica Lundy at Stoney Road Press / Ireland; colorful mixed media work by Stanley William Hayder at Susan Teller Gallery; subtle and contemplative photolithographic prints by Linda Schwarz at Wildwood Press LLC; and bold and colorful works by Alexander Calder and Chuck Close at Thomas French Fine Art.
Helen Frankenthaler, Freefall, 1993, hand - dyed paper in 15
colors and 12
color woodcut from 1 plate of 21
woodblocks, 78 1/2 x 60 1/2 inches (199.4 x 153.7 cm).
On a single work's surfaces, on a
colored ground, Zheng makes thousands of prints from
woodblocks he has carved, printing type, found stamps, and more recently Chinese papercuts; he finishes the work by painting into it by hand.
Throughout her career, New York artist Gloria Garfinkel (b. 1929) has drawn inspiration from the vivid designs and unexpected
color combinations of Japanese fabrics and
woodblock prints.
A week - long exploration working in intaglio to create multi
color prints from one copper plate, combining traditional etching process with a la poupee inking, mono printing, chine colle, with the option of using a
woodblock as a second plate / matrix.
The talk will touch on Judd's four - decade engagement with
woodblock prints as well as his interest and use of
color across all media.
The title reflects her fascination with Japanese
woodblock prints, especially the subtle
colors found in the work of Utagawa Hiroshige (1797 — 1858), an artist whose work she owned.
Helen Frankenthaler, Tales of Genji IV, 1998, twenty - one -
color woodcut from twelve
woodblocks and one stencil on handmade paper, 47 × 42 inches (119.4 × 106.7 cm)
The Nabis, influenced by Paul Gauguin and the fashionable Japanese
woodblock prints, experimented with arbitrary
color, expressive line, and flat, patterned surfaces.
Employing a variety of complicated techniques, the artist layers
woodblock and screenprint to elicit an explosion of
color, form, and texture.
In her series of reduction
woodblock prints entitled The Sum of All the Parts, López uses the medium to layer texture and
color as she describes the rusting surfaces of I - beams and the very joints of construction.
She uses brayers — soft rubber rollers usually used for inking lithographic stones, etching plates or
woodblocks — roughly four inches wide to apply one
color at a time in curving arcs and swirls on 18» x 24» mid-weight paper.
Twenty - two
color Ukiyo - e style woodcut printed with 18
woodblocks 24 x 18 inches Edition of 51 Signed and numbered by the artist Printed by Pace Editions Ink Published by Pace Editions, Inc. unframed, pristine condition never framed, hinged or matted.
Her paintings also bring to mind the extravagant decadence of fin de siècle Vienna, the crystalline
colors of ukiyo - e
woodblock prints, the late figuration of Philip Guston and the Pop abstraction of Nicholas Krushenick.
Except for a central column covered in brightly
colored strips, the patterning is black and white, and it was made by means of
woodblock printing and high - gloss house paint....
The deceptively simple «Cedar Hill» uses 10
colors and 13
woodblocks to create a dappled surface of delicate red and blue streaks, like heavy rain seen through a prism.
He works in the ancient tradition of
woodblock printing using as many as 15
colors in a single print.
Twenty - one
color woodcut from twelve
woodblocks and one stencil on handmade paper, 47 x 42 in.
Fifty - three
color woodcut from eighteen
woodblocks and two stencils on handmade paper, 47 x 42 in.
Italian Renaissance artists were inspired by the naturalism of ancient Greek and Roman sculpture; French Post-Impressionists incorporated the compositions and
colors of Japanese
woodblock prints.
In a new series of two - part ink drawings, Baselitz is «visited» by Katsushika Hokusai, whose exquisitely controlled
color -
woodblock prints epitomized the refined ukiyo - e genre in Japanese art and persist in the popular imagination today.
Using various printing techniques including lithography, silkscreen and
woodblock, he renders his subjects in vivid
colors and patterns.
Twelve -
color woodcut from twenty - one
woodblocks on hand - dyed paper, 78 1/2 x 60 1/2 in.
Kawase Hasui (Japanese, 1883 - 1957), Daigokuden, Kyoto, from the series Selection of Scenes of Japan, 1922,
woodblock print, ink and
color on paper.
Kawase Hasui (Japanese, 1883 - 1957) Hori River, Obama from the series Souvenirs of Travel, First Series, early autumn 1920,
woodblock print, ink and
color on paper.
Kawase Hasui (Japanese, 1883 - 1957), Kaminohashi Bridge, Fukagawa, from the series Twelve Subjects of Tokyo, summer 1920,
woodblock print, ink and
color on paper.
The
woodblocks themselves are hardly recognizable, but their textured, dark, almost burnt
color reveals the ink - stained surface of the blocks (the reverse images of positive prints).
Helen Frankenthaler Tales of Genji V, from Tales of Genji 1998 Ukiyo - e woodcut in 49
colors from 21
woodblocks, with pochoir, on TGL handmade paper, the full sheet, S. 42 1/4 x 47 in.
Inspired by the expressive qualities of
color, Apfelbaum has recently created a series of unique
woodblock monoprints entitled Atomic Mystic Portraits and Atomic Mystic Puzzles.