Abstract, Aquatint, Early 20th Century, Gallery Opening Receptions, Gallery Openings, Landscapes, Mezzotint, Monoprint, Prints

Alessandro Mastro-Valerio: A Retrospective

Repose. Alessandro Mastro-Valerio. Mezzotint, 1948.

Repose. Alessandro Mastro-Valerio. Mezzotint, 1948.

We are very excited to announce to our OPG blog followers and readers our fall 2013 show, Alessandro Mastro-Valerio: A Retrospective. We will celebrate Mastro-Valerio’s captivating and varied printmaking career with an exhibition of more than 20 prominent works from the Gallery’s collection. On view from September 20 through November 9, 2013, the show includes Motif in Seascape, the 1949 Cannon Prize winner, as well as several of his original printing plates. We will celebrate the opening of Alessandro Mastro-Valerio: A Retrospective with a free nighttime reception on Friday, September 20, 2013, from 5-8pm at the gallery.

Motif in a Seascape. (Three Nudes). Alessandro Mastro-Valerio. Aquatint, 1949.

Motif in a Seascape. (Three Nudes). Alessandro Mastro-Valerio. Aquatint, 1949.

From his earliest drypoints to his later experimentation with mezzotints and aquatints, Alessandro Mastro-Valerio (1887-1953) studied and explored the female form in his 22 years of printmaking. Stumbling upon a display of mezzotint engravings at the Century of Progress Exposition in Chicago, 1933, Mastro-Valerio  was intrigued and enchanted by the printing method. Mastering the medium quickly, he published his first mezzotint in 1934, and one of his earliest mezzotints, Morning, was chosen for Fine Prints of the Year in 1935. Rich in tonality, Mastro-Valerio’s prints glow and breathe, and are filled with a quiet emotion— one that resonates deeply with viewers and his admirers.

Landscape with Buildings.  (Summer Landscape). Alessandro Mastro-Valerio. Aquatint, 1934.

Landscape with Buildings. (Summer Landscape). Alessandro Mastro-Valerio. Aquatint, 1934.

His two brief departures from the female nude occurred in the years of 1931 to 1933, when he produced mostly landscapes, and in the last several years of his printmaking career, from 1950 to 1952, when his prints were pure abstractions, created from continuous or single-bite aquatints. Mastro-Valerio also experimented with scale, producing several small works of reclining nudes, each on plates no larger than two-inch squares. Enticing in both miniature form or on a larger scale, Mastro-Valerio’s prints have an undeniable magnetism and draw.

Rhythm. Alessandro Mastro-Valerio. Mezzotint, c.1939.

Rhythm. Alessandro Mastro-Valerio. Mezzotint, c.1939.

Reclining Nude (small). Alessandro Mastro-Valerio. Mezzotint, 1937.

Reclining Nude (small). Alessandro Mastro-Valerio. Mezzotint, 1937.

 

 

 

 

 

 

We are thrilled with the opportunity to introduce his amazing work to DC’s art community and OPG friends and followers. The retrospective will illustrate the extremely varied and dynamic range of Mastro-Valerio’s prints, and offer many styles ( and price ranges) for interested collectors.  While we are still in the planning stages for the show, our website has been updated with all of his prints. You can see them here.

Make sure to check back on the OPG blog for more details as the show comes together, including information regarding the opening night party and reception!

Figure. Alessandro Mastro-Valerio. Mezzotint, 1950.

Three Nudes. Alessandro Mastro-Valerio. Monoprint, c.1936.

Three Nudes. Alessandro Mastro-Valerio. Monoprint, c.1936.

Standard
Aquatint, Early 20th Century, Mezzotint, Monoprint, Prints

Prints by Alessandro Mastro-Valerio

Below are the nine prints we have by 20th century artist Alessandro Mastro-Valerio (1887-1953). From his earliest drypoints to his later experimentation with aquatints, Mastro-Valerio studied and explored the female form in his 22 years of printmaking. His two brief departures  from the female nude occurred in the years of 1931 to 1933, when he produced mostly landscapes, and in the last several years of his printmaking career, from 1950 to 1952, when his prints were pure abstractions, created from  continuous or single-bite aquatints.

An experienced painter, Alessandro Mastro-Valerio was introduced to printmaking  by his dear friend, Dr. Warren Pl Lombard,  in 1930. His first prints were drypoints. He began experimenting with etching and soft ground in a series of views of the Garganico area in Italy and worked briefly in this period with aquatints. During a trip to Chicago to visit the Century of Progress Exposition in 1933, he saw and was enchanted by a display of mezzotint engravings. Deciding that the medium would yield the image he had been seeking, he quickly taught himself mezzotint engraving. His first mezzotints were published in 1934. One of his earliest mezzotints, Morning, was chosen for Fine Prints of the Year in 1935. In 1948, his print Motif in Seascape won the Cannon prize from the National Academy of Design.

Nude with Breakfast Tray. Alessandro Mastro-Valerio. Monoprint, c.1940. $1,600.00

Nude with Breakfast Tray. Alessandro Mastro-Valerio. Monoprint, c.1940. 

Morning Paper. Alessandro Mastro-Valerio. Mezzotint, 1941. Presentation Print of the Chicago Society Of Etchers. $1,200.00

Morning Paper. Alessandro Mastro-Valerio. Mezzotint, 1941. Presentation Print of the Chicago Society Of Etchers. 

Longing. Alessandro Mastro-Valerio. Mezzotint, 1946. $1,250.00.

Longing. Alessandro Mastro-Valerio. Mezzotint, 1946. 

Repose. Alessandro Mastro-Valerio. Mezzotint, 1948. $750.00.

Repose. Alessandro Mastro-Valerio. Mezzotint, 1948. 

Motif in a Seascape. Alessandro Mastro-Valerio. Aquatint, 1949. $675.00.

Motif in a Seascape. Alessandro Mastro-Valerio. Aquatint, 1949. Won the Cannon Prize from the National Academy of Design. 

The Mask. Alessandro Mastro-Valerio. Aquatint, c.1949. $475.00.

The Mask. Alessandro Mastro-Valerio. Aquatint, c.1949. 

Day and Night. Alessandro Mastro-Valerio. Mezzotint, 1950. $525.00.

Day and Night. Alessandro Mastro-Valerio. Mezzotint, 1950. 

Life in Still Water. Alessandro Mastro-Valerio. Aquatint, c.1950. $225.00.

Life in Still Water. Alessandro Mastro-Valerio. Aquatint, c.1950. 

Fury. Alessandro Mastro-Valerio. Aquatint, c.1952.

Fury. Alessandro Mastro-Valerio. Aquatint, c.1952.

To see or purchase any of the prints shown above, please visit our website or our Georgetown gallery.

 

Standard
2012 Holiday Gift Guide, Aquatint, Contemporary, Drypoint, Early 20th Century, Etching, Lithograph, Monoprint, Monotype, Prints, Silkscreen, woodblock print, Woodcut

2012 HOLIDAY GIFT GUIDE: The Abstract Admirer

GIFT GUIDE BANNER copy

Abstract Admirer copyHere are our picks for the abstract admirer, who is drawn to artwork which takes some liberties, altering color and form to free itself from objective context. Reshaping the natural world for expressive purposes, abstract art is created through the  suggestive strokes of the monotype brush and free line of the etching needle. The abstract admirer revels in the freedom of shifting interpretations, seeing and feeling new things every time they look at their print. See our gift suggestions, taken from our early 20th century and contemporary collection, for the abstract admirer.  Enjoy!

Modernistic (for E.W.) Shifting Winds. By Albert W. Barker. Lithograph, 1930. Signed in pencil, inscribed "65 -/6." $300.00

Modernistic (for E.W.) Shifting Winds. By Albert W. Barker. Lithograph, 1930. Signed in pencil, inscribed “65 -/6.” $300.00

To Be Received Again. By Heather McMordie. Lithograph with collagraph, on Stonehenge paper, 2012. Titled and signed by artist in print.  Edition 2/6. $350.00

To Be Received Again. By Heather McMordie. Lithograph with collagraph, on Stonehenge paper, 2012. Titled and signed by artist in print. Edition 2/6. $350.00

Water 1. By Judy Mensch. Woodblock, 1998. Seven blocks, ten passes, eight colors.  Signed in pencil. Inscribed "3/3." $300.00

Water 1. By Judy Mensch. Woodblock, 1998. Seven blocks, ten passes, eight colors. Signed in pencil. Inscribed “3/3.” $300.00

Night Passage. By Richard Sloat. Etching and aquatint, 2008. Inscribed "2/70." $350.00

Night Passage. By Richard Sloat. Etching and aquatint, 2008. Inscribed “2/70.” $350.00

Sea Anemones. By Joan Krash. Solarplate etching, monoprint on Rives BFK paper, 2010. Inscribed "monoprint."  Framed by artist. $275.00.

Sea Anemones. By Joan Krash. Solarplate etching, monoprint on Rives BFK paper, 2010. Inscribed “monoprint.” Framed by artist. $275.00.

Head of a Traveler. By Adja Yunkers. Color woodcut, 1952. Signed, titled and dated in pencil. Inscribed "184/225." $1,200.00

Head of a Traveler. By Adja Yunkers. Color woodcut, 1952. Signed, titled and dated in pencil. Inscribed “184/225.” $1,200.00

Blur. By Philip Bennet. Oil-based monotype, 2011. Inscribed "1/1." $550.00

Blur. By Philip Bennet. Oil-based monotype, 2011. Inscribed “1/1.” $550.00

Fury. By Alessandro Mastro-Valerio. Aquatint, c.1952. Signed in pencil.  16/25. $200.00

Fury. By Alessandro Mastro-Valerio. Aquatint, c.1952. Signed in pencil. 16/25. $200.00

Line, Rope, Ladder - Alone. By Brad Widness. Etching, aquatint, drypoint, polymer image, chine colle on Sommerset Satin. Inscribed "A/P (unique)." $500.00

Line, Rope, Ladder – Alone. By Brad Widness. Etching, aquatint, drypoint, polymer image, chine colle on Sommerset Satin. Inscribed “A/P (unique).” $500.00

Far. By Masaaki Noda. Silk screen, 1986. Inscribed "85/98." $300.00.

Far. By Masaaki Noda. Silk screen, 1986. Inscribed “85/98.” $300.00.

Check back soon for more great gift ideas- for everyone on your list. To view other 2012 gift guides, see below:

All sales can be made in store or over the phone. We also ship prints and maps, flat and insured, using FedEx 3 Day Shipping. Our gallery hours are Tuesday-Saturday, from 10am to 5:20pm. The number at the gallery is (202) 965-1818.

Standard
Aquatint, Contemporary, Early 20th Century, Etching, Past/Present, Prints

Past/Present: Water

Today we have a new P/P post, featuring two prints of watery reflections. Both are currently in our Summer gallery show Water, along with other works by contemporary and early 20th century artists. The earlier work is by artist Alessandro Mastro-Valerio,  a highly regarded painter and watercolorist prior to the start of his printmaking career in 1930. Although best known for his mezzotints which won him many awards, he worked in drypoint, etching, aquatint, wood engraving and experimented with continuous bite and sugar lift aquatints. Similar to Maestro-Valerio, the contemporary artist featured in this post, Takamune Ishiguro, employs aquatint in his printmaking. Drawn to this medium, Ishiguro explains “[Aquatint] has many attractive expressions such as lines or areas caused by corrosion and unplanned occurrences.” 

Aquatint is a fantastic technique for capturing water, as it is an etching process concerned with areas of tone rather than line. For this technique, the plate is covered with a ground or powdered resin that is granular rather than solid (as in etching). The plate is then submerged in an acid bath.  The acid bites between the granules of the resin. The design, wholly in tonal areas, is produced by protecting certain areas of the plate from the acid by the application of an impervious varnish. Submerging the plate in the acid bath multiple times can produce different degrees of darkness. Artists will also use several resins with different grains, for a varied effect.

Image on Left: Life in Still Water. By Alessandro Maestro-Valerio. Aquatint, c. 1950.

Image on Right: Some Fragments VIII-C. By Takamune Ishiguro. Etching and aquatint, 2005. Edition 50.

 

 

 

 

 

 

 

 

 

Standard
Contemporary, Gallery Opening Receptions, Gallery Openings, Prints

July Show Water at The Old Print Gallery

Gale, Old Wheeler’s Island. By Richard Carleton. Etching, 2001.

The Old Print Gallery is pleased to present Water, a group show featuring prints by local, national, and international contemporary artists. Water will open on Friday, July 20, 2012, with a nighttime reception from 5-8pm at the gallery. The show will be on view until September 14, 2012. With a subject matter as open and expansive as water, the show yields both personal and universal interpretations for artist and viewer.

Splash. By Philip Bennet, oil-based monotype,2004.

Abstraction and illusion are prominent in the works of Water. Judy Mensch’s woodblock Water 1 is a product of seven woodblocks, ten passes, and eight colors. The result is a dynamic distillation of water in stripes of deep blues and greens. Philip Bennet’s Splash, too, is an abstract blend of colors, forgoing form to capture a more visceral depiction of a plunge into watery depths. NY artist Peter Milton incorporates overlays of watery motifs in his large, dreamlike images. Here, water alludes to the shadowy depths of the subconscious, and hints at memories and influences from the artist’s past.

Waterfall. By Peter Milton. Digital print, 2010.

Some Fragments VIII-C. By Takamune Ishiguro. Etching and aquatint, 2005.

Marked is the artists’ ability to evoke watery imagery from the hard matrices of copper plates and woodblocks. Simple cuts and gouges transform into brilliantly dappled light on water’s surface in Karen Whitman’s Adrift. Likewise, rough, turmoil waves emerge from the constant rocking and reworking of the plate in Art Werger’s Requiem. Other artists highlight the liquid properties of inked media itself to communicate a watery essence. Takume Ishiguro’s use of aquatint and water-based inks in Some Fragments VII-C adds fluidity and glassiness to his macro depiction of water bubbles. Whether water is depicted in large scale or small scale, figuratively or metaphorically, its capacity to mesmerize and captivate artists’ attention is undeniable.

Selected Artists: William J. Behnken, Philip Bennet, Richard Carleton, Antonio Frasconi, Takamune Ishiguro, Stanley Kaplan, Alessandro Mastro-Valerio, Judy Mensch, Frederick Mershimer, Peter Milton, Clare Romano, Ilse Schreiber Noll, Herbert Simon, Mary Teichman, Art Werger, and Karen Whitman.

For more information, please visit our Events page on our website, or check out the images selected for the show on our Current Show page. We hope to see you all there at the opening!

Standard