Items Similar to Glowing Tree

Al Lachman - Tree of Life, Contemporary Expressionist Landscape

Leo Guida - Abstract Tree - Mixed Media on paper - 1970s

Mark Lavatelli - Tree Glyph #14

Werner Drewes - Tree at Night

Renelio Marin - Tree 5

Robert Andrew Parker - Trees, Abstract Expressionist Gouache on paper by Robert Andrew Parker

Want more images or videos?

Request additional images or videos from the seller

1 of 12

Gabor F. Peterdi
Glowing Tree
1958

Name: Glowing Tree
Brand: Gabor F. Peterdi
Price: 3159.41 AUD
Availability: InStock
Rating: 5 (102 reviews)

$2,000

£1,538.53

€1,785.80

CA$2,820.48

A$3,159.41

CHF 1,659.44

MX$38,417.40

NOK 21,013.88

SEK 19,947.82

DKK 13,328.11

About the Item

Glowing Tree Etching, engraving & lift ground, 1958 Signed, titled and annotated in pencil (see photos) Edition: Artist Proof (there was a published addition of 30 with five stencil colors) Annotated: “Artist’s Proof 1” in pencil Printed on off white wove paper by the artist Reference: Johnson 152, trial proof Condition: Excellent Two tiny bits of adhesive residue on bottom edge of margin Image/Plate size: 20 x 24 inches Sheet size: 21 11/2 x 25 3/4 inches Provenance: destinguished Midwest Private Collection Note: This impression is the first printing of the image. It is before the artist added five stencil colors to the final composition. Impressions of the image are in the collection of the Art Institute of Chicago, National Gallery of Art, Cleveland Museum and the Smart Museum at the University of Chicago. The 1940’s and 50’s are considered the artist’s best period of printmaking. In 1959 Peterdi authored his important book of creating fine prints, entitled Printmaking: Methods Old and New, which was very influential in the education of print makers in modern techniques of gravure. Gabor Peterdi (1915-2001) Born in Budapest on September 17, 1915, Gabor Peterdi began his studies at the Hungarian Academy. His first solo exhibition was mounted at the Ernst Museum when he was just fifteen years old. In 1930 Peterdi won the Prix de Rome for painting and continued his studies at the Academia delle Belle Arti. The following year he went to Paris to attend the Academie Julian and the Academie Scandinavien. There, the young artist met Szenes and Maria Helena Vieira da Silva, and was thrust into the avant-garde. Peterdi joined Atelier 17 in Paris in 1933, and through Stanley William Hayter, he became enchanted with the burin and the plate. Gradually developing an intimacy with engraving, he explored every phase of the technique. In 1939, Peterdi emigrated to the United States. Later that year, his first American one-man exhibition of paintings opened at the Julien Levy Gallery in New York. Seven years later, having served in the army, Peterdi resumed his printmaking career at Atelier 17 in New York. He found working with the copperplate cathartic after his military experiences. His first prints reflected the horrors and destruction of war, but he soon began representing natural awakenings and biblical beginnings in such works as Adam and Eve (Johnson 35). At this time, the artist created his first color intaglio, Sign of the Lobster (Johnson 29), which incorporated eight stenciled colors and an etched and engraved key plate. Here Surrealism resurfaced in a distinctive, personal response to Hayter and Miro. Maintaining his activity at Atelier 17, Peterdi began teaching at the Brooklyn Museum in 1948, organizing the graphic arts workshop there. His paintings and prints of this period were dominated by his own gestural imagery, the result of exposure to Abstract Expressionism. Peterdi’s creative approach to intaglio continued to expand as he invented new techniques and printed from ever larger plates. In 1952 he became an associate professor of art at Hunter College, where he taught until 1959. In 1953, he also began teaching at the Yale-Norfolk summer school, and he joined the art faculty of Yale University as a visiting professor, gaining a full-time appointment in 1960. Today Peterdi sustains a close association with Yale through his position as professor emeritus. In 1959, Peterdi’s book Printmaking Methods Old and New was published. It remains a standard technical reference for both printmaking students and professionals. Peterdi has also exerted his influence on American printmaking in well over a hundred solo exhibitions. Currently, the artist continues to work and exhibit widely. Courtesy: AskArt Source: David Acton’s A Spectrum of Innovation: Color in American Printmaking 1890-1960, Wooster Art Museum, 1990

Creator:

Gabor F. Peterdi (1915-2001, American)

Creation Year:

1958

Dimensions:

Height: 20 in (50.8 cm)Width: 24 in (60.96 cm)

Medium:

Intaglio

Movement & Style:

American Modern

Period:

1950-1959

Condition:

Gallery Location:

Fairlawn, OH

Materials

Aquatint

Maria Deguchi
Ascension, 1973

$525

2010s Contemporary Abstract Paintings

Materials

Acrylic, Board

Al Lachman
Tree of Life, Contemporary Expressionist Landscape, 2022

$10,200

Abstract Tree - Mixed Media on paper - 1970s

By Leo Guida

Located in Roma, IT

"Abstract Tree" is an original Contemporary artwork realized in the 1970s by Leo Guida. Mixed Media. Watercolors, pastel, collage and pencil on paper. ...

Category