Nancy Graves

Borborygmi

1988

41 7/10 × 39 7/10 in 106.04 × 100.96 cm

Abstract Oval Composition with Birds and Other Images Signed and numbered in pencil Etching with carborundum

21 1/2 × 30 in 54.61 × 76.2 cm

Flowers don't tell they show, 2021 Signed and numbered by the artist Hand embellished print on museum-grade cotton rag paper 31 x 31 in 78.7 x 7...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

Eloignement (Remoteness) Etching, aquatint and engraving, 1990 Signed lower right corner (see photo) Numbered lower left corner (see photo) Edition: 99 (28/99) Publisher: Jacqueline ...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City. He was three years old when the terrible explosion occurred there and can remember the terrifying confusion and 'the beautiful red sky and objects flying everywhere in the air.'" (Reynolds, p. 25) While growing up in Texas City, Valton's father worked in auto repair, and was known for his skill in mixing colors for paint jobs. After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) “Height...

Arnaldo Pomodoro - La Rottura Nella Forma Solare - Hand-Signed Etching , 1983 Additional Information: Material: Etching and aquatint on paper Limited edition, numbered 37/60 in lowe...