Rag Paper Landscape Prints

Ernst Fuchs (Austrian, 1930 - 2015) Zyklopische Landschaft, 1967 (Cyclopean Landscape) • Coloured Aquatint etching on rag paper (Prob. French Arches paper) • Sheet ca. 31.5 x 56 cm • Plate, ca. 22.5 x 48 cm • Signed bottom right • Inscribed in pencil bottom left: EA I/I (= Artist’s proof, print No. 1 out a run of one print) Worldwide shipping is complimentary - There are no additional charges for handling & delivery. Ernst Fuchs was an Austrian painter...

Bold linocut proof print by an unknown artist (20th Century). A green-yellow underlayer shows through a bold black top layer, creating a strong contrast of highlights and shadows. A ...

Black and White Print, Landscape Photography, Glacier Prints-Icy Wall of Silence ABOUT THIS PIECE: This black white art print named "Icy Wall of Silenc...

Landscape Photography, Mountain Prints, Fine Art Prints-Won't Be Moved ABOUT THIS PIECE: This fine art print named "Won't Be Moved" was part of a land...

Framed Coastal Wall Art, Black & White Photography, Coastal Prints-Unbroken Path ABOUT THIS PIECE: This piece of framed coastal wall art titled "Unb...

Cynthia MacCollum is a painter, printmaker, and photographer who lives and works in New Canaan, CT. Her work has been shown online at ODETTA, NYC, and in person at the Center for Contemporary Printmaking...

Mountain Prints, Landscape Photography, Color Prints-Rocky Past ABOUT THIS PIECE: This landscape photography piece named "Rocky Past" was part of a la...

Black and White Prints, Landscape Prints, Contemporary Photography-Glacial Peaks ABOUT THIS PIECE: This landscape print named "Glacial Peaks" was part of a landscape series shot in...

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Landscape Photography, Blue Photography, Photography Prints-Ombre Falls ABOUT THIS PIECE: This photography print named "Ombre Falls" was part of a l...

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Fine Art Photography, Landscape Art, Blue Landscape Prints-Into The Deep ABOUT THIS PIECE: This piece of fine art photography named "Into the Deep" was part of a landscape series s...

Landscape Photography, Blue Landscape Prints, Ice Pictures-Icescapes ABOUT THIS PIECE: This fine art print named "Icescapes" was part of a landscape series shot in Patagonia. This ...

Landscape Prints, Coastal Photography, Black and White Prints-Blades of Slate ABOUT THIS PIECE: This beautiful black white photo titled "Blades of Slate" was part of a landscape se...

Landscape Prints, Landscape Photography, Mountain Prints-Hollow Haven ABOUT THIS PIECE: This fine art print named "Hollow Haven" was part of a landsca...

Art Photography, Landscape Photography, Landscape Prints-Transitional Textures ABOUT THIS PIECE: "Transitional Textures" was part of a landscape series shot in Patagonia. This phot...

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Landscape Prints, Landscape Photography, Rock Photography-Parade of Pebbles ABOUT THIS PIECE: "Parade of Pebbles" was part of a landscape series shot in Patagonia. This photography...

Coastal Photography, Water Prints, Ocean Photography-Molten Waves ABOUT THIS PIECE: "Molten Waves" was part of a landscape series shot in Califor...

Landscape Photography, Rock Photography, Grey Landscape Prints-Step Above ABOUT THIS PIECE: "Step Above" was part of a landscape series shot in Patago...

Colorful Fine Art Prints, Landscape Photography, Rock Prints-Opalescent on Rush ABOUT THIS PIECE: "Opalescent on Rush" was part of a landscape series shot...

Addisonjones prints, Deep Within fine art prints ABOUT THIS PIECE: "Deep Within" was part of an inspiration shoot on the west coast. This photography print has really stunning and ...

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Landscape Photography, Beach Pictures, Ocean Photography-Lowtide Swash 021 ABOUT THIS PIECE: "Lowtide Swash 021" was part of a series of landscape pho...

Beach Landscape Photography, Ocean Print, Color Photography-Lowtide Swash 022 ABOUT THIS PIECE: "Lowtide Swash 022" was part of a series of landscape ph...

Beach Photography, Ocean Photography, Black Sand Photography-Monolith 816 ABOUT THIS PIECE: Black Sand Beach Landscape Photography, "Monolith 816",...

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In The New York Times Arts in America column, Edward M. Gomez writes 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." (Reynolds, p. 25) 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) "Front Elevation of Section 17" is plate number 34, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds writes, “this plate can be seen as a culmination of the artist’s earlier uses of aquatint and as a new direction the artist will take in his compositions. In early plates such as ‘Joy,’ Plate No. 12, and ‘Do Not Touch,’ Plate No. 20, the artist has presented his designs to our unaccustomed eyes, either formally, by placing them on sculpture pedestals, or more abstractly, using smaller soft ground silhouettes. In later examples such as ‘One Little Stage,’ Plate No. 24, or ‘Heritage,’ Plate No. 25, we were brought closer to a direct interaction with the forms as they began to fill the plates with increasing sculptural and monumental qualities. It was still possible to maintain a more passive point of view because of the stage format of the compositions. In ‘Avenue 11,’ Plate No. 26, as we have seen, the artist unveils the true authority of his designs by placing them in our environment to compete with our reality of a familiar cityscape and to make us question our ideas of aesthetics and logic. In ‘Front Elevation’ we enter into and are confronted with these structures in their own massive landscape...

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...

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...