Clarence Holbrook Carter Lithograph

Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers, scores of awards and solo exhibits, and streams of praise flowing from pens of the top art critics. Over the course of his 60+ year career Carter evolved from an exceptionally fine American Scene painter capable of evoking deep reservoirs of mood, into an abstractionist with a strongly surrealist bent. While his two bodies of work seem at first to be worlds apart, owing to their different formal vocabularies, they, in fact, explore virtually the same subject: the nexus between life and death and the transition from earth to spirit. The early work finds its expressive power through specific people, events, and landscapes—most of which are drawn from his experiences growing up in the river town of Portsmouth, Ohio—while the later work from the 1960s on evokes potent states of being through pure flat shape, color and form that read as universals. As his primary form he adopted the ovoid or egg shape, endowing it with varying degrees of transparency. Alone or in multiples, the egg moves through Carter’s landscapes and architectural settings like a sentient spirit on a restless quest. Born and raised in southern Ohio along the banks of the mercurial Ohio River and its treacherous floods, Carter developed a love of drawing as a child, and was encouraged by both his parents. He was self-directed, found inspiration all around him, and was strongly encouraged by the fact that his teenage work consistently captured art prizes in county and state fairs. Carter studied at the Cleveland School of Art from 1923-27, where he trained under painters Henry Keller, Frank Wilcox and Paul Travis. Returning to Cleveland in 1929, Carter had his first solo show, and through Milliken taught studio classes at the Cleveland Museum of Art from 1930-37. In 1938, he moved to Pittsburgh to teach at the Carnegie Institute of Technology until 1944. Carter’s American Scene paintings of the ’30s and ’40s, which launched his artistic star, are the works for which the artist remains best known. During and immediately after World War II, Clarence Carter realized his attraction to bold pattern, dramatic perspective and eye-catching hard-edged design was a poor fit with the prevailing style of Abstract Expressionism. Fortunately, these same hallmarks of his style were prized within the realm of commercial art. Around 1964 Carter acknowledged a need to break from the confines of representational painting. Once Carter had found a potent symbol in the egg, he used it to create an astounding body of imagery for the rest of his life. Among the most ambitious of all his later paintings were his Transections, a theological term meaning to cross, specifically between life and death.

Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

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