Gunter Damisch

Austrian Junge Wilde Abstract Etching Hand Signed, New Expressionist

c.1980s

Born in Amityville, NY, in 1952, Tom Butter received his B.F.A. from Philadelphia College of Art in 1975 and his M.F.A. from Washington University, St. Louis, two years later. Since 1979 he has been teaching sculpture at PCA. Butter is the recipient of two National Endowment for the Arts Grants for Emerging Artists (1980 and 1982). Special outdoor installations of his work have been part of the Hammarskjold Plaza Sculpture Garden, NY (1983), and Art Across the Park, Central Park, NY (1982). One-person exhibitions have been held at the Lawrence Oliver Gallery, Philadelphia (1983,1984,1985) and the Grace Borgenicht Gallery, NY (1983,1984). Group shows include: Affiliations, Recent Sculpture and Its Antecedents, Whitney Museum, Stamford, CT (1985); Translucid, Sculpture at Washington Square, Washington, DC (1985); Transfiguration of the Minimal Style, Sculpture Center, NY (1984); Language, Drama Source and Vision, The New Museum, NY (1983); Intoxication, Monique Knowlton Gallery, NY (1983); American Abstraction Now, ICA, Virginia Museum (1982); Critical Perspectives, P.S. 1, Long Island City, NY (1982); Color, Light and Mass: Ten Sculptors, Hallwalls, Buffalo (1981); Art for the Eighties, Galerie Durban, Caracas, Venezuela (1980). His work is in our own Academy collection as well as those of the Metropolitan Museum of Art, NY; Indianapolis Museum of Art; Chase Manhattan Bank; Prudential Insurance Company of America; and the Hospital Corporation of America, Nashville, TN. Bibliography: Forgey, Benjamin, “Prismatic Showcase,” The Washington Post, April 25, 1985. Martin, Richard, Arts, November 1984. Raynor, Vivien, The New York Times, November 18,1984. Goodman, Marilyn J.S., New Art Examiner, June 1984. Donohoe, Victoria, The Philadelphia Inquirer, April 14,1984. Donohoe, Victoria, The Philadelphia Inquirer, March 18,1984. Raynor, Vivien, “Totem,” The New York Times, February 17,1984. Kramer, Kathy, “Lifesigns,” Arts, February 1984. Messinger, Lisa, “Notable Acquisitions,” 1982 – 84,” Metropolitan Museum of Art. Linker, Kate, Artforum, November 1983. Brenson, Michael, “Critics Choices,” The New York Times, August 21, 1983. Saunders, Wade, Art in America, April 1983. Lichtenstein, Therese, Arts Magazine, March 1983. Levin, Kim, “Voice Choice,” Village Voice, January 12-18,1983. Rifkin, Ned, New Work/New York, catalogue, The New Museum, 1982. Russell, John, “New Work/New York,” The New York Times, March 19, 1982. Boyd, Julia, American Abstraction Now, catalogue, The Institute of Contemporary Art of the Virginia Museum, 1982. Silverthorne, Jeanne, “Butter/Burlin,” Artforum, October 1981. Raynor, Vivien, “Butter/Burlin,” The New York Times, September 11, 1981. Cohen, Ronny H., Drawing, Summer 1981, survey article. Denson, Roger, Color, Light and Mass: Ten Sculptors, catalogue, Hallwalls, Buffalo, NY, 1981. Huntington, Richard, “Color Mass, A Satisfying Show,” Buffalo Courier...

Gunter Damisch (1958, Steyr- 2016 in Vienna) was an Austrian painter and sculptor . He is one of "den Neuen Wilde" New Savages. (Junge Wilde) Gunter Damisch attended the Musikgymnasium Linz and then studied medicine and German and history for a few semesters. By age 16, he had already made 150 woodcuts and attended the International Summer Academy of Fine Arts in Salzburg with Claus Pack, he studied from 1978 to 1983 at the Academy of Fine Arts Vienna with Maximilian Melcher and Arnulf Rainer . In 1992 he took on a visiting professorship at the Vienna Academy (master class for graphics ) in Vienna, and since 1998 he has been a full professor there. From 1997 until his untimely death in 2016, he was head of the graphic arts department at the Vienna Academy of Fine Arts. the 1980s Damisch was a member of the Viennese punk band Molto Brutto, where he played bass and organ. Gunter Damisch lived and worked in Vienna and Freidegg . He was one of the most important international representatives of contemporary Austrian art because of his unmistakable, convincing and consistently formulated repertoire of colors and shapes (reminiscent of Friedensreich Hundertwasser.) He worked in stone lithos, woodcuts, lithograph, artists’ books like a free jazz virtuoso, making huge, one-of-a-kind pieces with collage, drawing, painting, woodcut and monotype on the same sheet. In 1978, the Junge Wilde painting style arose in the German-speaking world in opposition to established avant garde, minimal art and conceptual art. It was linked to the similar Transavanguardia movement in Italy, USA (neo-expressionism) and France (Figuration Libre). The Junge Wilde painted their expressive paintings in bright, intense colors and with quick, broad brushstrokes very much influenced by Professor at the Academy of Art in Berlin, Karl Horst Hödicke They were also known as the Neue Wilde. Artists included; Austria: Siegfried Anzinger, Erwin Bohatsch, Herbert Brandl, Gunter Damisch, Hubert Scheibl, Hubert Schmalix, G.L. Gabriel-Thieler Germany: Berlin: Luciano Castelli, Rainer Fetting, Andreas Walther, Helmut Middendorf, Salomé, Bernd Zimmer...

Moix, Santi (Spanish, b. 1960), Figural Abstraction, hybrid print with etching and aquatint, 23.5 x 16.75 inches, pencil signed and numbered 2/3. Santi Moix (Barcelona, 1960) lives ...

Size includes frame. There is a plate impression at the image that leads me to believe this is an aquatint. Antoni Tàpies i Puig, 1st Marquis of Tàpies (Catalan: 13 December 1923 – ...

Francesco Clemente (Italian b. 1952), 'This side up / Telemone #2, 1981 Medium: Intaglio hard ground etching, color aquatint, drypoint, and soft-ground etching with chine collé (ha...

Alistair Grant was a familiar feature of the London art scene. Best known as a printmaker, his entire teaching career was spent in the printmaking department at the Royal College of Art, where he was to become Professor. Over the years he taught printmaking to many who were to become leading UK artists. Grant was at the top of his profession and a groundbreaker in his explorations of mixed media techniques. Grant was also a wonderful painter. In the early 1980s his imagery had turned to an open expressionist style, with sweeping brush marks and the introduction of new vibrant colour. Inspired by the Normandy coastline around Etaples and Le Touquet. Grant would create cyphers from the shapes and forms in the landscape, which he would offset against curtains of colour. They evoke bright or misty days, blazing skies or sunsets, beaches or harbours. The paintings and prints are descriptions of places he loved and constantly returned to. One could describe him as a French reflection of the St. Ives School where painters explored the landscape in similar fashion, as they still do. There is a wonderful sense of freedom in these images, and a great joie de vivre. Grant was a supreme colourist. He also co-authored an important book on the life and works of fellow English artist Henry Moore, whom his abstract figurative style resembles. This print is from the late 1960s and show the strong influence of figurative abstraction and surrealist elements in his work. Although best known as a printmaker, Grant also painted throughout his career and in the 1980s he adopted an expressionist style using vibrant colours. He was born in London and studied at Birmingham College of Art (1941-43). After serving during the war, Grant returned to art school and the Royal College, where he was taught by Carel Weight and Ruskin Spear. Grant was to work in the printmaking department of the Royal College for 35 years (1955-90), ending his career as Emeritus Professor of Printmaking at the RA. He showed with Julian Trevelyan. Grant showed at the Royal Academy, Artists International Association, and New English Art Club, and was a prize-winner at the Krakow Print Biennale in 1972. The TATE, The Victoria & Albert Museum, British provincial and many overseas galleries hold Grant’s work. His work is amongst the finest of modern British printmaking alongside richard smith, joe tilson, peter blake, patrick caulfield, alan davie, terry frost, david hockney and howard hodgkin. Select Group Exhibits 1951 New Editions Group,Auckland,New Zealand 1952-54,78 Redfern Gallery, London 80,83,84,86 1956 Nutida Engelsk Grofik, Stockholm 1957 National Arts Council of Southern Rhodesia 'Looking at People', South London Art gallery 1959 Tel Aviv Museum, Israel Arte Britonico Maderno Figurotiro, Galeria,Buchloz, Bogota The London Group 1960 Graven Image, Whitechopel Gallery, London Sixteen Pointers, A I.A. Gallery, London 1961 Museo de Arte, Barcelona Senfelder Group, Arts Council, London 1962 Towards Art Gulbenkian,R.C.A .London Contemporary British Pointers, Birmingham 1964-66 Curwen Gallery 1966 Crabowski Gallery, London 1967 A.A.A. Gallery, New York Schuman Gallery, New York 1968 Camden Arts Centre, London 1969 Pratt Centre, New York Art for lndustry, Arts Council, London 1970 University of South Florida, Miami 1971 Portland Museum,Oregon 1972 Art Gallery of Ontario, Toronto, Canada 1976 R.C.A.Printmakers,Waddington Gallery,London 1988 'Exhibition Road',R.C.A,London 1989 Berkeley Square Gallery, London 1989,90 Austin Desmond Gallery, london 1990 Scottish Gallery, London 1991 Big Little Picture-Show,W.Jackson,London 1992 'Winter Seen III',W.Jackson Gallery,London 1993 1 st Egyptian Print Triennale, Giza, Egypt 1994 Art '94, london, with Art First La Galerie du Touquet (with Alain Morcot) 1995 Art...

Abstract composition is an original artwork realized by Henry Goetz in the middle of the XX century. Hand signed in pencil on the lower right margin; "H.C." copy; first edition of 3 ...

Hand Signed. Artist's Proof. Very good conditions.

Carborundum and intaglio. Signed and numbered from the edition of 25. Tachibana’s prints take their inspiration from nature, a meditation on the forms and shapes of water, ferns an...

Color sugarlift and spitbite aquatint. Edition of 35

Untitled 1 Etching original painting number 12 of an edition of 15 engravings. Jaume Plensa Suñé (Barcelona, 1955) is a Spanish plastic artist, sculptor and engraver. Very versatile ...

Untitled Plate 7 from Paroles Peintes Suite is an etching and aquatint on Japon paper. Hand-signed and hand-numbered in pencil on the lower margin. Edition of 85 prints. Perfect con...