Contemporary, Landscapes, New Additions, Prints, woodblock print

New Additions: Matt Brown Color Woodcuts

NEW ADDITIONS banner

NEW ADDITIONSContemporary printmaker Matt Brown dropped off more prints at The Old Print Gallery last week, and we are very excited by his new work. Brown works in the traditional Japanese hanga method to create his stunning color landscapes- cutting and inking a different block for each color used in his prints.

“I love the process of making these prints: the way pictorial simplicity is encouraged, the way an image is separated into parts and put back together, the way the translucent colors blend and juxtapose, the way the wood interacts with the paper.”- Matt Brown

Below Mt. Pemigewasset. Matt Brown. Color woodblock print, 2012. Edition 300. Second state. Image size 16 3/4 x 7 inches.

Below Mt. Pemigewasset. Matt Brown. Color woodblock print, 2012. Edition 300. Second state. Image size 16 3/4 x 7 inches.

Pemaquid from Little Thumcap. Color woodblock print, 2013. Edition 300. Image size 6 3/4 x 16 1/2 inches.

Pemaquid from Little Thumcap. Color woodblock print, 2013. Edition 300. Image size 6 3/4 x 16 1/2 inches.

Kearsarge from Eagle Pond. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 16 1/2 x 7 inches.

Kearsarge from Eagle Pond. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 16 1/2 x 7 inches.

Waves on Little Thrumcap. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 7 x 16 5/8 inches.

Waves on Little Thrumcap. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 7 x 16 5/8 inches.

December Afternoon - Stowe, Vt. Matt Brown. Color woodblock print, 2012. Edition 300. Image size 7 x 16 1/8 inches.

December Afternoon – Stowe, Vt. Matt Brown. Color woodblock print, 2012. Edition 300. Image size 7 x 16 1/8 inches.

Evening at Lake Winnipesaukee. Color woodblock print, 2014. Edition 300. Image size 16 1/2 x 7 inches.

Evening at Lake Winnipesaukee. Color woodblock print, 2014. Edition 300. Image size 16 1/2 x 7 inches.

Mt. Washington from Little Haystack. Matt Brown. Color woodcut print, 2014. Edition 300. 15 7/8 x 7 inches.

Mt. Washington from Little Haystack. Matt Brown. Color woodcut print, 2014. Edition 300. 15 7/8 x 7 inches.

Sunlight and Squam Lake. Matt Brown. Color woodcut print, 2015. Edition 300. Image size 16 1/8 x 7 inches.

Sunlight and Squam Lake. Matt Brown. Color woodcut print, 2015. Edition 300. Image size 16 1/8 x 7 inches.

Standard
Contemporary, Early 20th Century, Gallery Event, Gallery Updates, Prints, woodblock print

2015 Capital Art Fair

CAF LOGO

The Old Print Gallery will be exhibiting at this year’s Capital Art Fair. This print-based fair is in its thirty-fifth year of bringing collectible and desirable art to the Washington, DC area. This year, the fair boasts over 20 distinguished art dealers from across the United States, with original prints, paintings, drawings, and photographs that span over 500 years of creative expression, offering an impressive and expansive selection to any collector.

The Old Print Gallery will be bringing selected prints from our extensive collection of 20th century and contemporary prints, including contemporary works by local DC and regional artists Susan Goldman, Philip Bennet, Heather McMordie, Jake Muirhead, Matt Brown, and Eric Goldberg, as well as international printmakers Karima Muyaes, Nancy Previs, and Cleo Wilkinson.

Dates:

  • Saturday, March 21, 2015: 10:00am – 6:00pm
  • Sunday, March 22, 2015: 11:00am to 5:00pm

Location: The Fair is held at the Holiday Inn-Rosslyn Westpark Hotel, located at 1900 North Fort Myer Drive, Arlington, VA 22209– just a short walk over the Key Bridge from our Georgetown gallery. Click here for directions.

Tickets: Tickets are $10 at the door, but you can also sign-up for free at the Capital Art Fair website, www.capitalartprintfair.com/tickets/.

We would love to see you at the fair, and encourage you to attend.  If there are any prints, printmakers, or specific works you would like to see, please make sure to contact us via email or by phone at (202) 965-1818 prior to the event, so we can be sure to bring them to the Fair.

87703

Pemaquid from Little Thumcap. Matt Brown. Color woodblock print, 2013. Image size 6 3/4 x 16 1/2″. Ed. 300. LINK.

 

Standard
Early 20th Century, Prints, woodblock print

Luigi Rist

Grapes. By Luigi Rist. Color woodblock, 1943. Image size 7 5/8 x 9 1/4 inches. LINK.

Known for his unique and complex approach to printmaking, Luigi Rist (1888-1951) was a lifelong resident of Newark, NJ and started his art career as a painter. At the age of 41, while in Brittany monitoring for painter Sigurd Skou, he met Morris Blackburn, a Philadelphia painter who became a lifelong friend. The two visited an exhibition of Japanese woodcuts in New York, where Rist became fascinated by the medium. By the age of 53, he had immersed himself in the exploration of Japanese woodblock creation and manipulation. Through experimentation, Rist developed his own tools and techniques, using multiple blocks and numerous layers of color to produce prints in which still lifes become almost abstract forms, defined by the subtle nuances and brilliance of his color application.

Photocopy of  a handwritten  "Forbidden Fruit" printing "flow sheets", which documents the day-by-day account of the 50 steps needed to produce the print from 10 blocks. Image source from www.luigirist.com.

Photocopy of a handwritten Forbidden Fruit printing “flow charts”, which documents the day-by-day account of the 50 steps needed to produce the print from 10 blocks. Image source from www.luigirist.com.

His exacting methods were well documented in his copious working notes. Written on lined legal pads, his notes helped him navigate the dizzying number of woodblocks used in each print. Sometimes Rist used up to 16 cherry-wood blocks (8 blocks carved on each side) for one image. Because Rist’s prints required between 50 and 100 impressions to make a finished print (different sections of one block were used for different colors, and frequent overprinting was done to build up color), his notes were a way to recreate each print in the edition. Rist would also create his own color flow charts.

The key to Rist’s stunning color lay in the use of rice paste, a mixture of fine rice flour and hot water, mixed together on a double-boiler. Rist would mix-up a fresh batch of rice paste every morning. He would then weigh out powdered pigment, slowly adding water to create  his inks, making sure his “mixture was the consistency of heavy cream. Using a flat stick, a dab of the rice paste was applied to the area of the block to be printed; with a soft Japanese brush the creamy pigment was also applied to the block, and the paste and pigment were blended with the brush on the block itself. The type of brush used, the direction of the stroke, all made for different effects. The addition of the paste changed the character of the color from a granular or matte finish to one more brilliant.” (For more on his technique and invented tools, please read Luigi Rist: Printmaker in Japanese Tradition by Barbara Whipple.)

Both Grapes and Pears are in our current exhibit, Ink & Grain, on the OPG gallery walls. Stop by our Georgetown gallery before November 15th to see the show in person.

Pears. By Luigi Rist. Color woodblock, 1948. Image size 8 7/8 x 7 1/16 inches. LINK.

Pears. By Luigi Rist. Color woodblock, 1948. Image size 8 7/8 x 7 1/16 inches. LINK.

 

 

Standard
American Views, Early 20th Century, Engraving, Etching, Landscapes, New Additions, Prints, Wood, woodblock print

New Additions: 20th Century Printmakers

NEW ADDITIONS bannerNEW ADDITIONSThe Old Print Gallery has been exhibiting early and mid-20th century prints for seven years now- a (very exciting) result of joining forces with The Old Print Shop in 2006. In the past month, we have added prints by several new (to us) 20th century printmakers- which we are happy to share with the OPG blog readers today. Below is a sampling of  works by three new artists ( the other three artists will come in a later post). We hope you enjoy the new additions to our ever-growing collection of fine prints.


 John J.A. Murphy ( 1888-1967)

Murphy was an American  painter, wood engraver and book maker, who studied at Boston Museum of Fine Arts, the Art Student League, and the London Central School of Art. He participated in the early 20th century revival of the woodblock print, often exploring religious and metaphysical subject matter. Murphy completed his major wood engraving print series “The Way of the Cross” in 1921, which featured 14 black and white prints on Japanese Paper. He also wrote poems to accompany many of his wood engravings.

Athletes. By John J. A. Murphy. Wood engraving, c.1930. Edition unknown. LINK.

Athletes. By John J. A. Murphy. Wood engraving, c.1930. Edition unknown. LINK.


Norma Bassett Hall (1889- 1957)

Norma Bassett Hall was a printmaker and painter, best known for her color woodcuts in the style of the Arts and Crafts movement- representational scenes of the West printed in strong color with dynamic contrast. Born in Oregon, Hall attended school at the Chicago Art Institute, before returning to Portland to set up her own studio. From Portland, she and her etcher husband traveled to a long list of destinations, including Kansas, France, Britain, Scotland, Virginia, and New Mexico. Hall’s early prints are all woodblocks printed with opaque oil-based inks. She later shifted to using water-based inks after meeting and studying with Japanese printmaking expert Mabel Royds in Scotland. Hall was one of the 10 artists that formed the Wichita-based print collective Prairie Print Makers, and the only female member. Always drawn to color, Hall’s landscapes sometimes employed as many as seven different blocks, all cut into her favorite hard cherry wood.

Autumn Road Santa Fe. Norma Bassett Hall. Color wood block, 1928. Signed in pencil by the artist. LINK.

Autumn Road Santa Fe. Norma Bassett Hall. Color wood block, 1928. Signed in pencil by the artist. LINK.

Laguna Skyline. [New Mexico.] By Norma Bassett Hall. Color woodblock, 1931. Signed and titled in pencil. LINK.

Laguna Skyline. [New Mexico.] By Norma Bassett Hall. Color woodblock, 1931. Signed and titled in pencil. LINK.


Roi Partridge (1888-1984)

Born in Centralia, a territory in Washington, Partridge spent his early artistic years in the Pacific Northwest- exploring nature and all Western scenery had to offer with a small group of fellow artists called the Triad (which consisted of Partridge, John Davidson Butler and Clare Shepard). In 1909, he moved to NY and studied a year at the National Academy of Design- his brief and only stint with art school. Traveling to Munich, and not able to afford formal art classes, he worked informally with the printmaker Brockhoff. It is during his time in Germany that he was first introduced to etching. Partridge then moved to Paris, where, again, in lieu of art school, he compulsively read art books and kept a diligent schedule of sketching Parisian architecture, scenes, and portraits. He also worked as a printmaker, under the guidance of friend and mentor Bertha Jaques, founder of the Chicago Society of Etchers.

In 1914, he returned to Seattle, where he worked until 1917, when he and his family moved to San Francisco. He taught at Mills College in California, and served as the first Director of the College’s art gallery. Upon returning from Europe, he almost exclusively printed scenes of nature. His circle of friends in California consisted of great artists Dorothea Lange, Ansel Adams, and Edward Weston- all were mesmerized by the beauty of their natural surroundings, trying hard to capture its essence in art.

On the Range. By Roi Partridge. Etching, 1932-33. Edition 63. Signed in plate lower right "Roi Partridge 1932-33." LINK.

On the Range. By Roi Partridge. Etching, 1932-33. Edition 63. Signed in plate lower right “Roi Partridge 1932-33.” LINK.

Standard