Ernest Trova

Pop Art Lithograph “Falling man”, study 1 by Ernest Trova

1967

Artist Fernando Palos employs a straightforward interplay of shapes and colors in this lithograph. A first impression leads us to assemble geometric figures, initiating the idea of m...

Art, a tangible manifestation of the imaginary and the sensitive, is translated through works capable of captivating and communicating beyond words. Friedlaender's lithographs, loade...

The lithograph, entitled "Laocoön and His Sons," depicts a modern and minimalist interpretation of the tragic mythological story of Laocoön. The artwork is done in black and white, and was created in 1953, showcasing a unique blend of classical themes and contemporary art styles. The image shows the high priest...

This lithograph titled "Shades of Der Strand features an interesting interplay of colors and shapes, drawing the eye in to explore every detail of this intricate artwork. The undula...

Bill Graham revisited his old Bronx neighborhood in August, 1986 and, appalled to see that the drug culture had effectively wiped out the local culture, f...

1983 Japanese pearlescent paper 27 × 20 in 68.6 × 50.8 cm Edition of 1000 2 colors printed matter on Japanese Kirabiki Paper

This large Allen Jones lithograph is printed exuberantly in primary colors. A swath of bright red brushstrokes represents the side of a bus. In the upper left, small windows reveal the passengers: a woman’s face is cut off above her vampy red lips, and a blue-haired man’s face is hidden. Royal blue fills the upper right corner of the composition, giving the impression of looking up at a passing bus against the cloudless sky. One can imagine Jones was thinking of the iconic red double decker bus the AEC Routemaster, first introduced in London in 1954. In the 1960s buses were a living symbol of familiar and new technology coexisting: as David Bucken put it, “In and around London a midpoint change on a journey might involve alighting from an RT bus, of which production had started just prior to World War II, and getting on one of the sexy new Routemasters.” In the artist’s words: “The whole problem as a figurative artist was that it was going against the main march of modernism, which was towards abstraction. But here was a way of making the subject you were painting the same as the object you were painting on. By making the canvas a rhomboid, and putting little wheels on it, you have a schematic version of a vehicle, in this case a London bus.” Jones plays with the space between abstraction and figuration: windowed passengers, elaborated with just a few lines and placed adjacent to a weighty red ground of brushstrokes, easily convey the form of a bus, yet the print also conveys Jones’ visceral, painterly delight in color play. Four color lithograph on wove paper Paper 28.5 x 42.5 / 72.4 X 108 cm Wood frame 31 x 46 x 2 in. / 78.75 x 117 x 5 cm with 1 in. moulding Signed by the artist lower right in pencil, labeled Trial Proof lower left in pencil. Edition 20. Printed at Tamarind Los Angeles with Clifford Smith...

DETAILS: 27 x 17 inches 2020 Offset lithograph 80# Classic Linen Solar White Cover