Contemporary, Early 20th Century, Figurative, Lithograph, Mezzotint, Past/Present, Prints

Past/Present: Reclining Nude

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Today we have two beautiful nude prints, one by contemporary Bill Murphy and the other by 20th century painter and printmaker Alessandro Mastro-Valerio. Followers of the OPG Blog are already familiar with Alessandro Mastro-Valerio (we have featured his prints here, here, and here), but this is the first time we have showcased work by Bill Murphy.

Murphy was born in Staten Island in 1952.  He studied at The School of Visual Arts, The Art Students League, Pratt Graphic Center, and received an MFA from Vermont College.  He holds the rank of Professor of Visual Arts at Wagner College, Staten Island where he has taught since 1983. Murphy is a member of Audubon Artists, Print Club of Albany, and the Society of American Graphic Artists (SAGA).

A particularly poignant line from Murphy’s artist statement is a great illumination of what makes his prints so successful: “The aspect of picture-making which intrigues me the most is at the point where luck and intention meet – the crisscrossing of fate and accident on the way to finding a picture.” His nude lithograph is a perfect visual testament to his instinctive and liberated method; it is a very subtle print- not overworked or exhaustive in its line work. Similarly, Mastro-Valerio’s nude benefits from a softer and delicate touch. The sheets are a tumble of indistinguishable folds, and his use of line is sparse- with only subtle definitions to the curve of the hip, shoulders, and hands, leaving the face and background bathed in shadows.

We hope you enjoy these two beautiful prints!

Image on the Left: Repose. Alessandro Mastro-Valerio. Mezzotint, 1948. Edition of 20. Estate Signed. LINK.

Image on the Right: Reclining Nude. By Bill Murphy. Lithograph, 1988. Edition 10. Signed and titled in pencil. LINK.

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Abstract, Bronze, Early 20th Century, Figurative, Lithograph, New Additions, Prints, Sculpture

New Additions: Lithographs of Boris Lovet-Lorski

NEW ADDITIONS bannerNEW ADDITIONSWe picked up two prints at this year’s Capital Art Fair by Boris Lovet-Lorski (1894-1973). Lovet-Lorski is best known for his dramatic sculptures and lithographs. Always conscious of volume and structural space, his early architectural aptitude combined with the flattened aesthetic of the Art Deco period to produce his distinctive style.

Over the course of his career, Lovet-Lorski fashioned sculpture in a dizzying variety of materials, including marble, granite, slate, onyx, bronze, copper, pewter, wood, plaster, jade, and even lava. Ever mindful of the material used, his busts and figures always emerged with the clean, geometric lines and a fluid tactility. When arthritis hindered his capacity to sculpt, Lovet-Lorski focused his attention on drawing and printmaking, specifically lithography. In 1926, Braun & Co. published two portfolios of his lithographs.

Lovet-Lorski’s muse was the woman of the 20’s & 30’s, whether he captured her in polished bronze, black and white lithographs, or oil-paintings. He depicted the female form with strong, elongated and rounded limbs and narrow, boyish hips that flowered up to broad, angular shoulders. These powerful body silhouettes acted as a nod to the lustrous, modernized profiles of automobiles, airplanes, and new technology of the 20th century.

Winged torso. (Untitled). Boris Lovet-Lorski. Lithograph on light blue/green paper, c.1929. Signed in pencil. Inscribed "F. J." Image size: 10 x 6 1/2 inches. LINK.

Winged torso. [Untitled]. Boris Lovet-Lorski. Lithograph on light blue/green paper, c.1929. Signed in pencil. Inscribed “F. J.” Image size: 10 x 6 1/2 inches. LINK.

Female Figure with Architectural Objects. [Untitled.] Boris Lovet-Lorski. Printed in Paris by Ad. Braun & Co. Lithograph, c.1929. Signed in pencil. Image size 12 3/8 x 9 3/8 inches. LINK.

Female Figure with Architectural Objects. [Untitled.] Boris Lovet-Lorski. Printed in Paris by Ad. Braun & Co. Lithograph, c.1929. Signed in pencil. Inscribed “F.J.” Image size: 12 3/8 x 9 3/8 inches. LINK.

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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.

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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.

 

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