Art by Medium: Monoprint

This is an exclusive handprinted limited edition cyanotype. "Abstract Ripples Under Moonlight" is a handmade cyanotype print portraying the subtle movements and abstract ripples of t...

This is a one-of-a-kind original monoprint, made on a press by contemporary Japanese woman artist Kyoko Takagaki. Takagaki studied art at Temple University in Philadelphia, PA, USA. ...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

Contemporary gray and white monoprint in oil-based inks, paper and Mylar relief on Rives BFK paper of a Marquess and Marchioness crown and a fleur-de-lis pattern towards the bottom o...

Burton Wasserman Peace, Dedicated to art writer Eleanor Marko and her husband Ted, 1969-1970 Silkscreen Signed, titled, dated, AP inscribed "For Eleanor and Ted Marko/Cordial Greeti...

This is an exclusive handprinted limited edition cyanotype. "Nighttime Firework Flaring" is a beautiful cyanotype of the New Years Eve Fireworks Lights. Details: + Title: Nighttime ...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan...

“I still look at and learn from the art of the past, and enjoy making interpretations of works which I admire.” Henry Moore Infanta, Floating Balance, Point in Time, and Visionary are monoprints with Chine collé from Suzanne Benton's Paintings in Proust series. This grouping also includes the dry-point etching with Chine collé. Infanta (edition of 10). The monoprints (unique prints) employ the collage technique, chine collé (glued paper). Collé papers are pre-inked and hand-painted. Dimensional printing plates emboss texture onto the prints. The plates are inked individually for each solo print. The images and collé papers are then laid onto the plate and adhere to the printmaking paper as the plate and paper run through the etching press. Other monoprint series have been devoted to Indian and Turkish miniature painting...

This is an exclusive handprinted limited edition cyanotype. "Serene Cove Waters" is a handmade cyanotype print portraying fresh ripples movements in a Greek Islands cove...

Patty deGrandpre’s “Landlocked (Cactus, a million needles)” is an 12.375 x 16 inch unique abstract mixed media print represented on Awagami Bamboo Japanese paper utilizing both print...

Both the natural world and architectural grit have a place in Lisa Breslow's work, highlighting the pull of New York City that is created by these opposing forces side-by-side. She ...

Monica DeSalvo’s “Up-sun-down” is a surreal mixed media collage over a digital inkjet photo montage printed on Yupo paper. The abstract montage of blue, tan, sage green, yellow, and ...

Artist: Dan May (American, 1955-) Title: "Church, Southwest" *Signed by May in pencil lower left Year: 2006 Medium: Original Monoprint on unbranded cream cotton rag laid paper Limite...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

This piece titled "Viaje" is an original piece by Alexis Nutini and is made from a woodcut and found found object stencil monoprint mounted on panel. This piece measures 14.5"h x 9.5...

This piece titled "Blox" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 14.5"h x 9.5"w and ships unframed. Born in...

Liu Jian, Chinese (1961 - ) - LXXXIX, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mon...

Liu Jian, Chinese (1961 - ) - LXXXIV, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mon...

Liu Jian, Chinese (1961 - ) - LXXXII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mon...

Liu Jian, Chinese (1961 - ) - LXXXI, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mono...

Liu Jian, Chinese (1961 - ) - LXXVII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mon...

Liu Jian, Chinese (1961 - ) - LXXVI, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mono...

Liu Jian, Chinese (1961 - ) - LXXV, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monop...

Liu Jian, Chinese (1961 - ) - LXXIX, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mono...

Liu Jian, Chinese (1961 - ) - LXXIII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mon...

Liu Jian, Chinese (1961 - ) - LXXI, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monop...

Liu Jian, Chinese (1961 - ) - LXVIII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mon...

Liu Jian, Chinese (1961 - ) - LXVII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mono...

Liu Jian, Chinese (1961 - ) - LXVI, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monop...

Liu Jian, Chinese (1961 - ) - LXV, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopr...

Liu Jian, Chinese (1961 - ) - LXIV, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monop...

Liu Jian, Chinese (1961 - ) - LXIII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mono...

Liu Jian, Chinese (1961 - ) - LXII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monop...

Liu Jian, Chinese (1961 - ) - LXI, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopr...

Liu Jian, Chinese (1961 - ) - LX, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopri...

Liu Jian, Chinese (1961 - ) - LVIII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mono...

Liu Jian, Chinese (1961 - ) - LVII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monop...

Liu Jian, Chinese (1961 - ) - LVI, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopr...

Liu Jian, Chinese (1961 - ) - LV, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopri...

Liu Jian, Chinese (1961 - ) - LIX, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopr...

Liu Jian, Chinese (1961 - ) - LIV, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopr...

Liu Jian, Chinese (1961 - ) - LIII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monop...

Liu Jian, Chinese (1961 - ) - LII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopr...

Liu Jian, Chinese (1961 - ) - L, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monoprin...

Liu Jian, Chinese (1961 - ) - IX, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 in. x 19 in. (63.5 cm x 48.26 cm), Description: An Abstract Expressionist mo...

Liu Jian, Chinese (1961 - ) - III, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopr...

Liu Jian, Chinese (1961 - ) - II, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 19 x 25 in. (48.26 x 63.5 cm), Description: An Abstract Expressionist monopri...

Liu Jian, Chinese (1961 - ) - IC, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopri...

Liu Jian, Chinese (1961 - ) - CVII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monop...

Liu Jian, Chinese (1961 - ) - CVI, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopr...

Liu Jian, Chinese (1961 - ) - CII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopr...

Liu Jian, Chinese (1961 - ) - CI, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monopri...

Liu Jian, Chinese (1961 - ) - C, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist monoprin...

In this contemporary relief print on archival handmade paper, a circular, botanical mandala shape with petal-like edges in dark grey is dramatic and eye-catching against the brillian...

This square woodcut print on paper evokes the peacefulness of looking upwards through a forest canopy in a symmetrical pattern composed of the silhouettes of trees in dark violet blu...

David Shapiro, American (1944 - ) - Birnham Wood V, Year: 1981, Medium: Monoprint with embossing on handmade paper, signed, titled, and numbered and dated in pencil, Edition: 30/3...

Tracey Emin Exploration of the Soul from the Estate of Warhol's Agent, 1994 Tipped-in monoprint (unique) and ink inscription held in Hand signed and numbered (edition of 200) & ink i...

This piece titled "High and Low II" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 9.5"h x 14.5"w. Born in Mexico ...

In his sculptures, drawings and paintings, Michael O’Keefe employs unpredictable processes as a means to discover content. He couples accident and chance with unconventional methods,...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works Series Stand is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...