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Arthur Luiz PizaGlints of blue 1984
1984
About the Item
Engraving, 1984
Handsigned by the artist in pencil and numbered 45/99
Certificate of authenticity
Publisher : Œuvre gravée, Suisse
Catalog : Masrour 17
76.00 cm. x 56.00 cm. | 29.92 in. x 22.05 in. (paper)
58.00 cm. x 39.00 cm. | 22.83 in. x 15.35 in. (image)
Arthur-Luiz Piza (1928-2017) was born in Brazil where he trained as a fresco artist. Like many young artists of his generation, he was attracted to Paris, where he settled in 1951 in the cosmopolitan and inexpensive Montparnasse district. He continued his training in engraving, which he had begun in Brazil, in the excellent Ermitage workshop, with Johny Friedlaender.
In the 1960s, Piza developed a highly original technique: he carved geometric shapes directly onto the copper plate. These parts are then inked and the final result, on the sheet, is in relief.
The large plate we offer is the result of this technique: a multitude of small triangles in relief dot the composition. In different colours and with a sometimes shiny texture, they bring a breath of fresh air to the engraving of the 1960s, which was then in full revival.
Piza uses the burin, one of the oldest tools in engraving, and one of the most perilous to use.
His composition develops on a background dotted with tiny filaments. The triangles create a kind of current, of energy that flows horizontally. The whole thing is very delicate. Piza, also a sculptor and collage artist, was one of the most inventive printmakers of his generation, introducing these relief effects into his work and using a deeply personal colour palette.
LCD6116
- Creator:Arthur Luiz Piza (1928 - 2017, Brazilian)
- Creation Year:1984
- Dimensions:Height: 29.93 in (76 cm)Width: 22.05 in (56 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Slight folds in lower left corner Very good condition.
- Gallery Location:Paris, FR
- Reference Number:
Arthur Luiz Piza
Piza was born in Sao Paulo in 1928, where he received his first training. He moved to Paris in 1955 and worked in the studio of the master of colour etching, Johnny Friedlaender. Piza soon became expert in all the techniques of etching and aquatint, using sugar-lift extensively, but he experimented in various ways to make his work more sculptural and three dimensional. He abandoned traditional etching techniques and, using very thick copper plates, he devised his unique "gouge" technique by incising his designs into his plates with hammers and various shaped chisels. The precision required is exact as his grooves need to be precisely deep and wide enough to hold his hand-made special inks. Because of the depths of the grooves, the direction of the wiping directly affects the final impression. Each impression of his prints requires at least 30 minutes between colours in order for the plate to be re-inked and wiped, and he has to use cold plates in order for the inks not to dry out. The process of producing each impression is a time consuming and laborious process of collaboration between Piza and his printers. His work has met with great success and is shown in major public collections world-wide, including MOMA in New York, the Bibliothèque Nationale and the Musée d'Art Nationale (Centre Pompidou) in Paris. He has been awarded numerous prizes, notably for etching, at the 1959 Sao Paolo Biennale and at Documenta Kassel in 1959. Public Collections: Solomon Guggenhiem Museum,
Musee d’art de Lodz
Albertine Musuem
Belgrade Museum of Modern Art
Rome National Gallery of Modern Art
New York Musuem of Modern Art
Victoria and Albert Musuem London
Art Institute of Chicago
Museum of Contempory Art San Paulo
Museum of Modern Art Rio de Janeiro
Museum of Modern Art San Paulo
Museum of Modern Art Paris
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