Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 8

Caroline Durieux
Generation Gap

1978

$550
£415.62
€479.94
CA$768.54
A$852.76
CHF 446.70
MX$10,457.15
NOK 5,681.81
SEK 5,363.38
DKK 3,579.18
Shipping
Retrieving quote...
The 1stDibs Promise:
Authenticity Guarantee,
Money-Back Guarantee,
24-Hour Cancellation

About the Item

This artwork titled "Generation Gap" c1978 is an original Cliche Verre on paper by noted New Orleans artist Caroline Spellman Wogan Durieux, 1896-1989. It is hand signed, titled, dated and inscribed artist proof in pencil by the artist. The image size is 8.75 x 11.75 inches, sheet size is 10.75 x 13.65 inches. It is in excellent condition, two small pieces of hanging tape from previous framing remaining on the back. About the artist: As a Southern female satirist, Caroline Spellman Wogan Durieux was a rare phenomenon in the early twentieth century. Today, she is highly regarded for her stinging lithographs that touch on human foibles as well as some of the important issues of her day. Born to a family of Creole descent in New Orleans, young Caroline was precocious; she began drawing at age four and completed a portfolio of watercolors depicting her city by the time she was twelve. She took lessons from Mary Butler, a member of the art faculty at Sophie Newcomb College, and, beginning in 1912, matriculated at the school full-time, where her instructors included Ellsworth Woodward, chair of the art department. She graduated with a bachelor’s degree in design in 1916 and one in education in 1917. Awarded a scholarship by the New Orleans Art Association, Durieux pursued further coursework at the Pennsylvania Academy of the Fine Arts from 1918 to 1920. Years later, she was encouraged to try lithography by Carl Zigrosser, an expert curator of prints at the Philadelphia Museum of Art, who became her mentor. With her husband Pierre Durieux—an importer of Latin American goods and later the chief representative of General Motors for South America—Caroline Durieux spent time in Cuba during the early 1920s. The couple moved in 1926 to Mexico City, where she met the great muralist Diego Rivera and became involved in the local art community. Following a short interval in New York City, Durieux went back to Mexico in 1931 and enrolled at the Academy of San Carlos (now the National University of Mexico) to study lithography. She returned to New Orleans seven years later and was hired to teach at her alma mater, Newcomb College, from 1938 to 1943. Starting in 1939, Durieux served as the director of Louisiana’s Works Progress Administration program, and her division was the only one in the state not to practice racial discrimination. This was a matter she felt strongly about, stating: “I had a feeling that an artist is an artist and it doesn’t make any difference what color he or she is.” From 1943 until her retirement in 1964, Durieux was a member of the faculty at Louisiana State University in Baton Rouge. Durieux’s forte was lithography, a technique popular in the mid-nineteenth century and long associated with social commentary, and her prints proved no exception. Her work in the 1930s and 1940s coincided with a rise in art that dealt with poverty, racism, and totalitarianism. She often presented stereotyped social climbers as her subjects, depicting these figures—mostly women—with exaggerated facial expressions, hairdos, and clothing. Even though the images are biting, they are generally tinged with humor. Upon occasion, Durieux took on larger issues, such as discrimination. Lithography provided Durieux with a good deal of technical freedom, because she was basically drawing with a special grease pencil. When she tried her hand at etching in the early 1930s, she disliked it, commenting: “All my etchings are harrowing. I think it is because the medium is such a precarious one—the least slip and all is lost. I can’t be funny on a copper plate.” However, she was not loath to attempt new methods; late in her career, she experimented with cliché verre, a mode that melds drawing with photography. She also investigated electron printmaking using radioactive ink. Caroline Durieux’s work is represented in the collections of the Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago, the National Gallery, and the Louisiana State University Museum, among others.
  • Creator:
    Caroline Durieux (1896 - 1989, American)
  • Creation Year:
    1978
  • Dimensions:
    Height: 10.75 in (27.31 cm)Width: 13.65 in (34.68 cm)Depth: 0.01 in (0.26 mm)
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    San Francisco, CA
  • Reference Number:
    Seller: dur/gen/gap/011stDibs: LU666311089342

More From This Seller

View All
Sub Culture
By Caroline Durieux
Located in San Francisco, CA
This artwork titled "Sub Culture" c1972 is an original color lithograph on wove paper by noted New Orleans artist Caroline Spellman Wogan Durieux, 1896-1989. It is hand signed, titled, dated and numbered 5/10 in pencil by the artist. The image size is 17.75 x 13 inches, sheet size is 19.85 x 15 inches. It is in excellent condition, some hanging tape from previous framing remaining on the back. About the artist: As a Southern female satirist, Caroline Spellman Wogan Durieux was a rare phenomenon in the early twentieth century. Today, she is highly regarded for her stinging lithographs that touch on human foibles as well as some of the important issues of her day. Born to a family of Creole descent in New Orleans, young Caroline was precocious; she began drawing at age four and completed a portfolio of watercolors depicting her city by the time she was twelve. She took lessons from Mary Butler, a member of the art faculty at Sophie Newcomb College, and, beginning in 1912, matriculated at the school full-time, where her instructors included Ellsworth Woodward, chair of the art department. She graduated with a bachelor’s degree in design in 1916 and one in education in 1917. Awarded a scholarship by the New Orleans Art Association, Durieux pursued further coursework at the Pennsylvania Academy of the Fine Arts from 1918 to 1920. Years later, she was encouraged to try lithography by Carl Zigrosser, an expert curator of prints at the Philadelphia Museum of Art, who became her mentor. With her husband Pierre Durieux—an importer of Latin American goods and later the chief representative of General Motors for South America—Caroline Durieux spent time in Cuba during the early 1920s. The couple moved in 1926 to Mexico City, where she met the great muralist Diego Rivera and became involved in the local art community. Following a short interval in New York City, Durieux went back to Mexico in 1931 and enrolled at the Academy of San Carlos (now the National University of Mexico) to study lithography. She returned to New Orleans seven years later and was hired to teach at her alma mater, Newcomb College, from 1938 to 1943. Starting in 1939, Durieux served as the director of Louisiana’s Works Progress Administration program, and her division was the only one in the state not to practice racial discrimination. This was a matter she felt strongly about, stating: “I had a feeling that an artist is an artist and it doesn’t make any difference what color he or she is.” From 1943 until her retirement in 1964, Durieux was a member of the faculty at Louisiana State University in Baton Rouge. Durieux’s forte was lithography, a technique popular in the mid-nineteenth century and long associated with social commentary, and her prints proved no exception. Her work in the 1930s and 1940s coincided with a rise in art that dealt with poverty, racism, and totalitarianism. She often presented stereotyped social climbers...
Category

Late 20th Century American Modern Figurative Prints

Materials

Lithograph

Laura
By Beniamino Bufano
Located in San Francisco, CA
Artist: Beniamino Bufano (1889-1970) Title: Laura Year: 1970 Medium: Lithograph Image size: 18 x 12.25 inches Sight size: 19.5 x 13.5 inches. Framed size: 27 x 21 inches Signature: Signed, lower right Edition: 125. This one: 83/125 Condition: Very good Frame: Framed in black lacquer frame, black mat. Frame in good condition. This fine lithograph is by Beniamino Bufano (1889-1970), a well-known artist in the San Francisco Bay Area. The Museo Italo-Americano has this work in their permanent collection and indicates that it was pulled in 1970 at he Bank Street Atelier in New York in 1970. The print is in very good condition. The frame is in good condition with some light scratches. Beniamino Benvenuto Bufano was born in San-Fele, Italy on Oct. 14, 1889. At age three Bufano's family brought him to NYC where he spent his childhood and was educated by private tutors. He studied at the ASL in NYC from 1913-15, the pupil of James L. Fraser, Herbert Adams, and Paul Manship. He came to San Francisco in 1915 to work on a sculpture for the PPIE. For awhile he worked in the studio of coppersmith Dirk van Erp. He then traveled extensively for four years in France, Italy, India, and China. After returning to San Francisco in 1921, he remained there the rest of his life except for visits to the Orient and Europe. Always a radical, he lost his teaching position at San Francisco Institute of Art in 1923 because he was too modern for the conservative faculty. He later taught at UC Berkeley and the CCAC (1964-65). Henry Miller wrote of him, "He will outlive our civilization and probably be better known, better understood, both as a man and artist, five thousand years hence." His work, simple in style and monumental in scale, includes smoothly rounded animals in granite and icons sheathed in stainless steel. Only five feet tall, Bufano was a controversial, free spirit until his death in San Francisco on Aug. 16, 1970. Member: SFAA; NSS; American Artists Congress. Exh: Whitney Museum (NYC), 1917; Arden Gallery...
Category

1970s American Modern Portrait Prints

Materials

Paper, Lithograph

Hommage a?
By Oscar Edwards
Located in San Francisco, CA
This artwork titled "Hommage a ?" 1985 is a mixed media and collage on hardboard by noted Australian artist Oscar Edwards, 1905-1996. It is signed, titled and dated in the back (See ...
Category

Late 20th Century Modern Mixed Media

Materials

Mixed Media

Untitled
Located in San Francisco, CA
Artist: Charles Burk– American (1947-) Title: Doorway, old Building Year: unknown Medium: Watercolor on watercolor paper Size: 10 x 15 inches. Framed size: 19 x 23.5 inches Signatu...
Category

Late 20th Century Modern Landscape Paintings

Materials

Paper, Watercolor

J.P
By Charles Bragg
Located in San Francisco, CA
This artwork titled "J.B" c.1970 is a lithograph on paper by noted American artist Charles Bragg, 1931-2017. It is signed and titled in the plate as issue. The image (Stone mark) size is 5 x 8 inches, framed is 15.35 x 12 inches. It is custom framed in a wooden brown frame, with off white matting. It is in very good condition, paper is slightly toned by age. About the artist. Charles Bragg was born in St. Louis, Missouri to two Vaudeville performing parents that he traveled with throughout his childhood. He attended New York’s High School of Music and Art in Harlem and ran away with his sweetheart when he turned 18. He studied at the Art Students League in New York and later resided in Los Angeles. Before he decided to truly pursue painting, Bragg was a cab driver, a truck driver, a stand-up comedian, and a factory worker. When he arrived in California, he began painting for the wealthy and even gave lessons. It was during this time that he began to develop satirical feelings for the upper-class he was painting. Considered the foremost social satire artist in America, Charles Bragg is highly acclaimed for his cryptic and humorous portraits. Bragg is a spiritual descendent of Bosch, Brueghel and Daumier His work is found in the collections of at least 20 international museums, including thePushkin Museum, Moscow, USSR - Galleria d' Arte, Moderna de Milano Stedelijk Museum, Amsterdam, Holland - Dayton Art Museum, Ohio - DowneyMuseum of Art, California - Long Beach Museum of Art, California - Wichita State University Collection - Roswell Museum Collection, New Mexico - Canton Art Institute, Ohio - Loch Haven Art Center, Orlando Florida - University of Wyoming Museum of Art - The Albrecht Museum of Art, St Joseph, Mo - St Lawrence University, Canton, NY - Gibbes Art Center, Charleston, SC - Kalamazoo Institute of Arts, Michigan ¬University of Judaism, Los Angeles, Ca - Joslyn Art Museum, Omaha, Nebraska - Tyler Museum of Art, Tyler, Texas - Joseph Hirshhorn Collection, National Gallery of Design...
Category

Late 20th Century Other Art Style Figurative Prints

Materials

Lithograph

Too Far
Located in San Francisco, CA
This artwork titled "Too Far" 2004 is an original mixed media (color monotype and pencil drawing) by noted Swiss artist Francois Burland b.1958. It is hand signed, dated, numbered 1/1 and dedicated in pencil by the artist. The subject size is 7.75 x 10.5, including the pencil drawing is 9.5 x 13.5 inches, sheet size is 13 x 19.75 inches, framed size is 21 x 28 inches. Custom framed in a wooden black frame, with white matting. It is in excellent condition. About the artist: François Burland (1958) was born in Lausanne (Switzerland). He began drawing in self-taught fashion at the end of his adolescence. He undertook a first trip to Egypt's Sinai Peninsula at the age of twenty. A few years later, he encountered the Tuaregs in the Sahara Desert. Enthused by their nomadic lifestyle, he began returning to the region regularly over some thirty years. During his long stays with the Tuaregs, he shared their daily life, including their dromedaries and witchcraft, but also their 4x4s, mobiles and kalachnikovs. This creator has produced an abundant and varied oeuvre. Depending on each series and on his inspiration of the day, he avails himself of a number of techniques and materials. For his drawings, he prefers to use wrapping paper as a support: he applies pastels, colored pencil and white chalk to very large surfaces. His creations bring to mind shamanic art...
Category

21st Century and Contemporary Modern Mixed Media

Materials

Mixed Media, Monotype

You May Also Like

untitled
By Darius Steward
Located in Fairlawn, OH
Signed with the artist's initials lower right Watercolor on Twinrocker heavy weight paper
Category

2010s Contemporary Figurative Paintings

Materials

Watercolor

Interactions
Located in Ibadan, Oyo
Interactions is an original painting by Barnabas Macauley. Interactions was created with Mixed Media (Charcoal, Acrylic, and Pencil on a primed 36W by 48H inches canvas. Barnabas Macauley uses this painting to examine how we deal with internal conflicts of exactly what to do during our waiting process. The chaos of these interactions however was deliberately not the point of focus in the artwork but how they're being gracefully dealt with. The best way to often times handle conflict is to first be unlike the conflict we are dealing with. It is to be calm during the rigorous process and avoid the temptation to act desperately, thereby igniting the conflagration of the storm. We need to have those deep interactions in our minds and deal with them without losing our minds. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Macaulay Barnabas Osagie is a self-taught Artist and a graduate of the prestigious University of Benin, Nigeria, West Africa. Hailed from Benin heritage, which is known for its rich history, culture, and traditions. Growing up, He was fascinated by esthetics as a form of expression; this propelled his journey into the world of art. His passion for art began at the age of five, scribbling images on the ground using sticks—it evolved into drawings in primary and secondary schools. He was often selected among students to represent my secondary school in various art competitions. "Knowing that Art fuels my existence and helps me connect with the world better, in 2018, I decided to not only do art for love and relief, but to explore it professionally, and build a renowned career in the industry. One that reflects my views on societal issues and serves as an echo of hope. Determined to pay my dues, I had the privilege of working at Prince Saheed Adelakun's Olokun Art Studio in Abule-Egba, Lagos. It was there I met with other professionals. I created my first series titled "Odan Series"; which was expressed via hyperrealism. I created this series at the point when my life was in shambles; I was going through a rough phase; working on this series was my solace at the time. "Over the years, I have created brilliant artworks using charcoal and pencil on paper and have evolved using acrylic and charcoal on canvas as my primary media of visual articulation; these works take various forms and for various purposes, all a reflection of my creativity and depth. I am drawn to figurative African contemporary art and surrealism...
Category

21st Century and Contemporary Contemporary Mixed Media

Materials

Canvas, Mixed Media

Old enough to be my mother
Located in Denver, CO
Mychaelyn Michalec is a textile artist and painter working in Dayton, OH. Her work depicts the private, awkward, and mundane moments of family life through a medium traditionally ass...
Category

2010s Contemporary More Art

Materials

Wool, Yarn

Natural
By Darius Steward
Located in Fairlawn, OH
Natural Watercolor and pigments on Arches paper, 2021 Signed with the artist's initials lower right Signed with the artist's embossed "Yummy" blindstamp lower right An image of the a...
Category

2010s Contemporary Paintings

Materials

Watercolor

We, humans
Located in Oslo, NO
This captivating oil portrait presents the head of an African-American woman set against a green background. Her gaze is steady and introspective, eyes deep with emotion and quiet st...
Category

2010s Contemporary Portrait Paintings

Materials

Canvas, Oil

Untitled
By James Henderson
Located in New Orleans, LA
Based in New Orleans, James Henderson’s work explores the concept of memory and the idea of ‘home’ as an emotional space, rather than a physical one. Utilizing found imagery and text as a starting point, Henderson collages and layers his mixed media paintings to create a rich background onto which he often adds the silhouette of a figure, an icon of a house, or colorful drawings of children or shapes. The inclusion of imagery from vintage dress patterns...
Category

2010s Contemporary Mixed Media

Materials

Canvas, Mixed Media