Jean Carzou

Carzou French Modernist Color Lithograph Grand Canal Venice with Gondola Boat

1968

Will Petersen, a painter, master printer and a poet, was born in Chicago. (Amer. 1928-1994) Will's formal art education began with classes at the Chicago Academy of Fine Arts. As a student at the city's Steinmetz High School, Petersen succeeded Hugh Hefner (of Playboy magazine fame) as the HS newspaper cartoonist, the Steinmetz Star. During this time, Petersen recovered from polio. In 1947 Petersen enrolled at Chicago's Wilbur Wright College. While there, he painted with oils for the first time. Two years later he enrolled at Michigan State University where he developed a strong interest in literature and writing and began printmaking. By 1951 he had begun to exhibit paintings and prints nationally. A year later he completed his master's degree. Petersen served in the United States Army from 1952-54, spending one year as an education specialist in Japan. This encounter with the Japanese culture affected his entire life. He became interested in calligraphy and Noh, classical Japanese Buddhist performance that combines elements of drama, music and poetry. Upon completion of his military service in Japan in 1955, Will Petersen settled in Oakland, California, where he met some of the most active poets of the Beat Generation: Gary Snyder, Allen Ginsberg, Jack Kerouac, Phil Whalen, Mike McClure and others. Petersen was attracted to the group by their intelligence and belief in Zen Buddhism. In 1956 in his small studio in Oakland, he printed the poems of Jack Kerouac. He attended for the first time, the reading of Ginsberg's Howl at Six Gallery. His relationship with Gary Snyder had begun when both were in Kyoto, Japan; later Snyder wrote for the Plucked Chicken. Petersen returned to Japan in 1957, pursuing painting, printmaking and writing for eight years while living in Kyoto. In 1965 he accepted a faculty appointment at Ohio State University, teaching drawing, painting and printmaking. Four years later Petersen took his teaching skills to West Virginia University in Morgantown, where he concentrated on printmaking. He taught there until 1977 when he began publishing Plucked Chicken, a journal of art and poetry. In 1978 in Morgantown, Petersen and his wife, Cynthia Archer, established Plucked Chicken Press, which they later moved to Chicago and then Evanston. Petersen operated the Press until his death on April 1, 1994. 1956 In storefront studio in Oakland, California, creates signed serigraphs and lithographs. Prints poems of Jack Kerouac. 1961 Back in Japan, acquires a lithography press and stones and resumes printing lithographs. Exhibits regularly with Kyoto Printmakers. 1969 Resident lithographer at the Lakeside Studio, Lakeside, Michigan. Prints for the first time Richard Hunt lithographs. 1978 Establishes Plucked Chicken Press in Morgantown, West Virginia. Resident lithographer at Lakeside Studio in Michigan. 1980 Plucked Chicken Press moves to Chicago. Publishes lithographs by Don Crouch and Art Kleinman. 1982 Publishes Blossom, a lithograph/collage by Tom Nakashima. 1983 Series I of Plucked Chicken Press is published with work by Archer, Duckworth, Godfrey, Heagstedt, Himmelfarb, Hoff, Hunt, Martyl, Miller, Nakashima and Petersen. 1984 Plucked Chicken Press moves to Evanston. Series II of Plucked Chicken Press is published with works by Croydon, Ho, Archer, Torn, Osver, Middaugh, Roseberry, Petersen, Spiess-Ferris and Hoppock. 1985 Series III of Plucked Chicken Press is published with works by Driesbach, Hunt, Trupp, Gregor, Pattison, Conger, Evans, Weygandt, Archer, Ho and Petersen. Prints Suite I, Northern Illinois University Collectors Series, with lithographs by Renie Adams, David Bower, David Driesbach, Carl Hayano and Ben Mahmoud...

1963 Mixed Media by Mateo Manaure (Venezuelan, 1926-2018) Frame: 12.25" X 15.25" Image: 11" X 13.75" Hand signed Thought provoking abstract, mixed media modern graphic art Not sure of the exact technique but it seems photo based. Mateo Manaure (11926 – 2018) was a Venezuelan modern artist. In Venezuela he is considered a master of modernist abstractionism, and is known for his works in the University City of Caracas and for creating the largest glass murals in the world. Mateo Manaure was born on 18 October 1926 in Uracoa, in Monagas state. Between 1941 and 1946 he studied at the Escuela de Artes Plásticas y Artes Aplicadas under the instruction of Antonio Edmundo Monsanto. Here, he studied graphic arts in the workshop of Pedro Ángel González, to whom he was an assistant. He also began participating in the artist salon of the Museo Bellas Artes in Caracas. In 1947 he won the inaugural National Prize for Plastic Arts and traveled to Paris. He made a trip back to Caracas the next year to work with the Taller Libre de Arte, before returning to Paris in 1950 and being involved with the artistic movement of Los disidentes. (The Dissidents), a coalition of Venezuelan artists (active from 1945-50) that also included -Jesús Rafael Soto, Narciso Debourg, Alejandro Otero, Pascual Navarro, Rubén Núñez, Nena Palacios, J.M. Guillermos Péres, Alirio Oramas, Luis Guevara Moreno, Aime Battistini, Armando Barrios, Omar Carreño (refer to lot 222), and Carlos Gonzáles Bogen. Through their journal of the same name and their accompanying radical manifesto No (1950), Los Disidentes championed a progressive vision, that eschewed the conservative academicism embodied by the Escuela de Artes Plásticas and the Escuela Paisajista in Caracas, and in its place advocated for experimentation and geometric abstraction. Upon his return to Caracas in 1952, Manaure set out in earnest to put these ideas into practice and found an immediate affinity with the modernist project unfolding so indicative of that era's unprecedented growth and development. The latter was most evident in the architectural and public art works designed by the legendary modernist architect Carlos Raúl Villanueva, whose Cuidad Universitaria, the main campus of the Central University of Venezuela, is considered a landmark of city planning and architecture. Villanueva commissioned Manaure to execute several murals, painted wood reliefs, and stained glass windows for Ciudad Universitaria all reflective of the young artist's newly adapted aesthetic. By 1956, the year both of these works were painted, Manaure was a leading figure of the abstractionist movement, exhibiting abroad at the Venice Biennial and locally at the Museo de Bellas Artes. His geometric abstraction painting infuse his compositions with a kinetic power and lyrical sensibility. Manaure's desire to evoke a sense of the local or regional amid the universal. He returned to Caracas in 1952 to found the Galería Cuatro Muros with Carlos González Bogan, and gave the first exhibition of abstract art in Venezuela. He also began collaborating with architect Carlos Raúl Villanueva, first on the University City of Caracas, to which he contributed 26 works of art and was "promoted" to art supervisor of the campus, and then to other public spaces like the redesign of the neighborhood of 23 de Enero. For the next several years, Manaure continued to develop within abstract art, which made up the Venezuelan artistic avant-garde of that time. He later returned to more traditional graphic art forms, especially lithograph prints, though still did some work in abstract expression. He is a Venezuelan Latin American art Master along with Gego, Lia Bermudez, Alejandro Colina, Narciso Debourg, Alejandro Otero, Gerd Leufert, Armando Reverón, Braulio Salazar, Jesús Rafael Soto and Martín Tovar y Tovar. His work was included in the MoMA show Sur moderno, Journeys of Abstraction— Patricia Phelps de Cisneros. It included artists: Israeli, Yaacov Agam, Brazilian, Lina Bo Bardi, Hércules...