Sarah Smelser

Defying The Laws III

2022

"Flood Tide #33" is a unique monotype that Anna Kunz created during her visit to Manneken Press in July 2021; thirty six unique prints resulted from this intense work session. Inspired by water imagery...

Sarah Smelser is a master of monotype, demonstrating complete control over the medium. To make this piece she used relief, stencil and trace monotype techniques, working on both fron...

This print from Catherine Howe's "Tantric Flower" series is a unique monotype printed on sheer Habotai silk. The print is mounted on a wood stretcher which is faintly visible through...

"Flood Tide #31" is a unique monotype that Anna Kunz created during her visit to Manneken Press in July 2021; thirty six unique prints resulted from this intense work session. Inspir...

This unique monotype print is one of several created during Jack Davidson's visit to Manneken Press in 2016. Simple forms, straightforward compositions and a carefully considered color palette are the hallmarks of these prints. In this print Davidson utilized stencils, metallic ink and Rorschach blots...

Sarah Smelser is a master of monotype, demonstrating complete control over the medium. To make this piece she used relief, stencil and trace monotype techniques, working on both fron...

"Arroyo" is a woodcut and monotype signed by Carol Summers. The print is a break from the usual bright coloring of Summers' images, though is rendered in his typical style and fields of unmodeled color. A pair of trees stand front and center before an arroyo, a Spanish term for an intermittently dry creek, running out to the ocean. A white sunrise glows in the distance beyond the sea. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. 14.25 x 14 inches, artwork Numbered from the edition of 120 This print was commissioned by the Madison Print Club, Madison, WI Carol Summers (1925-2016) worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for its large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world, and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction, and Icarus) was shown for the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content, and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision that would have a significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain, and Greece. However, as evidenced in Aetna’s Dream, Worldwind, and Arch of Triumph...

Insects is a beautiful artwork realized by an artist of the 20th century. Original Monotype. In excellent condition. Hand signed on the lower right margin.

Frontal perspective for the project Monochrome Black Metal realized by Francesco Lo Savio in 1960. Hand signed and dated on the lower margin. Exhibitions: - PAC, Milan in 1979, n. ...

Frontal Perspective to project metal monochrome Black m . 3 x m.1 1961 realized by Francesco Lo Savio. Monotype cianotype. (Visione prospettica frontale per progetto di metallo mo...

Original Title: Prova non valida di visione prospettica frontale per progetto di metallo monocromatico NERO, monotype cianotype realized by Francesco Lo Savio. Exhibited at PAC in M...

Pierre Andre Obando creates process oriented abstract paintings. He was born in Belize City, Belize and grew up in the Caribbean, the U.S. Virgin Islands, Miami, Fl and Jackson, MS. ...