Small ink drawing on large sheet. 14 parallel wavy lines on an angle form a diamond; 1 line crosses through the tops of all 14; landscape orientation.
Although most of Tuttle’s prolific artistic output since he began his career in the 1960s has taken the form of three-dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice. He subverts the conventions of modernist sculptural practice (defined by grand heroic gestures, monumental scale, and the ‘macho’ materials of steel, marble, and bronze) and instead creates small, eccentrically playful objects in decidedly humble, even ‘pathetic’ materials such as paper, rope, string, cloth, wire, twigs, cardboard, bubble wrap, nails, Styrofoam, and plywood. Influences on his work include calligraphy (he has a strong interest in the intrinsic power of line), poetry, and language. (http://www.pbs.org/art21/artists/tuttle/index.html, accessed 1 Feb 2010)
This work depicts an evening scene in a hot spring.
Yoshida Hiroshi, living during the time when the Creative Print (sôsaku hanga) movement was gaining strength in the 1920s and 1930s, was not a member of the Creative Print movement. Unlike those sôsaku hanga artists who did everything themselves, Yoshida Hiroshi had carvers and printers produce his prints. Yet, unlike the traditional Ukiyo-e artists, he assumed the supreme authority over the production process, supervising the carvers and painters.
With his training in Western-style painting with oil, Yoshida Hiroshi had incorporated such skills into his woodblock printing and created unprecedented and original prints of the time. Landscape was a major theme of his works; he depicted not only scenes of Japan but also those of abroad.
This is a rectangular fragment of a larger garment, probably a shawl, woven from very fine woolen threads with a white/natural ground and alternating rows of intricately detailed 'boteh' (paisley) patterns in red and blue.
Landscape painting with green marshy field in foreground, a grouping of trees in the middle ground on right side of canvas, and blue sky with patches of soft clouds above.
Typical of many of Eaton’s landscape paintings, “Twilight” depicts a marshy meadow with a grouping of trees executed in a Tonalist manner. Dominated by dark, neutral hues in grays, browns and blues, Eaton depicts the landscape with a sense of atmosphere or mist giving the work on an overall tone of wistfulness or nostalgia. Many 19th century American artists, like Eaton, felt a sense of longing for nature untouched by the hand of man, during a time when the Industrial Revolution brought about the clearing of enormous areas of land. The title itself, “Twilight,” is an allusion to the time when something is declining or approaching its end and darkness begins.
A blackware bowl with black on black decoration. The bowl is nearly spherical in profile, with a narrow and wide mouth. Around the upper half is a feather design, which looks like individual feathers hanging down from the mouth forming a ring around the circumference.
A fusion of traditional Pueblo pottery techniques with art deco detail, within a black on black art object.
Signed and dated, in pencil, l.r. corner of print: ANUSZKIEWICZ 1968 Edition, in pencil, l.l. corner of print: 71/125 Pencil notation, on back, u.r. corner: 2079 Brown pencil notation, on back, l.r. corner: V146
This print has a white background with a pattern of bright yellow dots covering its surface. Yellow lines and shapes are formed in areas where the dots overlap or merge.
In the fall of 1968, Lichtenstein saw an exhibition, "Serial Imagery", at the Pasadena Art Museum, and, inspired by the works by Claude Monet included in the show, began making his series of Haystack and Rouen Cathedral lithographs. This print is one of that series printed in 1969 at Gemini G.E.L. in collaboration with master printer Kenneth Tyler. It shows Lichtenstein's technique of using Benday dots, a commercial graphic design process, to create his image.