Monotype Prints and Multiples

Inspired by the beauty of the of the Pacific in the Islands, this beautiful abstract original work "And The Orchestra Played" by master print maker Linda Whittemore displays rich pas...

Rich blues and sea greens are streaked with pearlescent accents that play across this beautiful abstract original work "Between matter and Spirit IV" by master print maker Linda Whit...

Kushner completed a series of monotypes, many with collaged decorative papers. He worked from still-lives of flowers, fruits, pitchers and Betty Woodman ceramic vessels. These prints...

This is a monotype print, a unique print with no other editions. This geometric abstract monotype on paper layers shapes on a blue background that transitions from deep, dark cobalt ...

Abstract monotype in blue, black and red, 1987. Signed and dated lower right. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standard-size frame...

Sarah du Feu Corn and Clouds 3 Original Monorprint Image size 40 x 50 cm Mounted size 55 x 63 cm Unframed Printed on acid free Somerset Velvet 280gsm paper This monoprint print was ...

Bright monotype abstract in red and orange tones by American artist Kismine Varner, 1990. Signed lower right. Original artwork on paper displayed on a white mat with a gold border...

"India" is a woodcut and monotype signed by Carol Summers. Here, Summer's abstract language for landscape imagery is taken to its most extreme: The image offers a view of a highly stylized waterfall, with red water falling down behind green foliage below. A hint of light blue at the lower left suggests a continuation of the water's flow. Above, purples and yellows mist upward from the power of the water. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Summers' signature can be found in pencil at the bottom of the rightmost blue form, with the title and edition at the bottom of the leftmost blue form. A copy of this print can be found in the collection of the Fine Arts Museums of San Francisco. 37.25 x 24.88 inches, artwork 48.5 x 35.5 inches, frame Numbered 44 from the edition of 75 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Gelatin monotype with acrylic paint on white BFK Rives Printmaking Paper. Approx. image size: 3" x 9" Paper size: 10" x 14" At the core of the dialogue between the artist and the ...

Artist: Stephen Auger, American Title: Luminance II Year: 1981 Medium: Monoprint, signed and dated in pencil Size: 29 x 37 in. (73.66 x 93.98 cm) Frame: 37 x 45 inches

unique monotype 14" x 18" paper size 9" x 11.5" image size unframed

Statement-The emphasis in the work is on color ,motion and emotion. I make paintings that are inspired by aspects of life thus transforming color and movement into their own visual ...

City 7. 1964, paper, monotype, 44x63 cm Soikans Nikolay, pseudonym Niklo de Martell (till 1953.) 1926. 9 IX Ludza – 1980. 21 II Lester, Great Britain – graphic artist. He was born a...

Artist: Scott Sandell, American (1953 - ) Title: Club Montauk Medium: Mixed Media on Thin Wove Paper, signed, titled Size: 57.5 x 37 in. (146.05 x 93.98 cm)

Rachel Burgess' landscapes are explorations of memory and the resonance of nature's forms. She begins her artistic process with plein air paintings and drawings which she completes i...

This is a unique monotype, signed and dated lower right. The image measures 21.75 x 23.75 inches inches and it is currently unframed. Pat Passlof was bor...

Mixed media composite (acrylics, sumi ink and pencil on mylar, fused with Monotype mounted with white thread stitching) on white BFK Rives Printmaking Paper Paper: 15" x 19" At the...

Monotype Charbonnel Ink Archival paper

Artist: Greg Kessler, American (1966 - ) Title: Women in Heels Year: 1995 Medium: Monotype Etching with Aquatint, signed in pencil Edition: 1/1 Size: 12 x 16 in. (30.48 x 40.64 cm) F...

A unique monotype by noted Canadian artist and actor Stephen Lack. The image measures 17 x 34 inches on a 25.5 x 40.5 inch sheet. The artwork is signed, dated, titled and numbered ...

This is a unique monotype, signed and dated lower right. The image measures 21.75 x 23.75 inches inches and it is currently unframed. Pat Passlof was bor...

Monotype Ms. Murray is notable for capturing the crystalline quality of northern light. She has an extensive exhibition history and she is represented in both private and public co...

This vibrant, untitled abstract monotype by Wilma Fiori (1929-2019) showcases her mastery in geometric design. Created in the 1990s, the piece features a dynamic blend of blue, teal,...

Color monotype Juarez’s most recent prints are four groups of monoprints Cowboy’s Delight II, Copper Mallow, Yucca Bloom and Flowers and Pearls. Juarez gathered wild flowers from ar...

Mixed media composite (oil, coffee and gouache) on white BFK Rives Printmaking Paper. The circles are hand-cut and shaped to reveal the underside of the paper, as well as the bottom ...

Printmaking composite with Japanese paper, pencil and silver leaf on white BFK Rives Printmaking Paper. Paper: 22" x 22" Frame: 25" x 25" At the core of the dialogue between the a...

Dramatic imagery from FILM NOIR series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett crea...

Friedel Dzubas (1915-1994) was a Berlin-born American abstract painter. He was associated with both the New York School and the Color Field movement. Dzubas studied art in Germany ...

An original diptych monotype by American contemporary artist Kathleen Sherin from the artist's Knot Series. Each monoprint is 40" x 30".

From my ongoing series, 'Portable Landscape or Landscape for the Traveler.' Before European contact, the Lenape Manhattan's original inhabitants called the island Manahatta, which me...

Color monotype with collage. Kushner recently completed a series of monotypes, many with collaged decorative papers. He worked from still-lives of flowers, fruits, pitchers and Bett...

Monotype

The boat symbolizes the passage of our coming into birth, journeying through life, and eventually guiding us to our last crossing. "...leading us back to the swaying, gliding somnole...

Color monotype Completed after a recent trip to Morocco, this print continues Grooms’ series of tributes to modern masters. Grooms imagined this scene as he followed the footsteps...

From my ongoing series, 'Portable Landscape or Landscape for the Traveler.' Before European contact, the Lenape Manhattan's original inhabitants called the island Manahatta, which me...

Monotype

David Collins has an ongoing interest in space and memory. Many of Collins’ memories relate to his family’s history in inventing Cold War era technology. Personal recollections of sp...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University in Dallas. Among others, she has had solo exhibitions in Dallas at The...

A Professor of painting at Southern Methodist University in Dallas since 1984, Barnaby Fitzgerald spent his childhood in Italy before receiving a Magistero degree in printmaking at t...

David Collins earned a BFA from the Rhode Island School of Design, and currently lives and works in New York. Collins has had numerous solo exhibitions in New York, and has exhibited...

Inscribed "Tiepolo Clouds" at lower left, "A. P." at lower center and signed "Zolita Sverdlove '85" at lower right This monotype is printed on BFK Rives paper

Darren Vigil Gray (b. 1959, American) Title: "Glimpse of a Horse" Medium: Monotype Print on Paper Dimensions: 27" x 39" framed Markings: Signed in Pencil LR "Darren Vigil Gray" ...

David Collins was raised in Dallas, received a BFA from the Rhode Island School of Design, and currently lives and works in New York City. Collins has had numerous solo exhibitions i...

Color monotype. Barbara Takenaga's latest prints are a series of Untitled hand colored monotypes, which she describes as follows: Making these monotypes was a wonderful new experience for me. They combine a painterly, abstract background with a graphic structure of hard edged, flat forms. Those dark shapes can be read as either positive/foreground space (body silhouettes or curtains) or as negative space that frames a central image (landscapes, columns, creatures). Similarly, the white lines and dots...

Striking, large, black and white city landscape in South America at night. A couple strolls towards the neon lights of a vintage 1950's theater, reflected in the wet sidewalk, with palm trees and tropical plants. Hand painted monotype ink creates a dramatic, film noir painting...

Edition: 5 or less. One of possibly 3 variants

Kenneth Noland (1924 – 2010) is one of the most important artists and contributors to the evolution of American abstraction. He is one of the most beloved figures in the Color-Field ...

Title -Green Light Go Year- 2011 MonoType / Embossment =They are made by drawing on a plate or glass with a substance such as printer"s ink or oil paint. An impression is infused i...

Oil based ink and oil paint monotype on fine printmaking paper. Moving horse in expressionist active strokes. Bold, direct motion.

"Diocletian's Retreat" is a woodcut and monotype signed by Carol Summers. The image combines landscape and architecture, in this case a classical struc...

Dramatic imagery from FILM NOIR series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett crea...

Statement-The emphasis in the work is on color ,motion and emotion. I make paintings that are inspired by aspects of life thus transforming color and movement into their own visual ...

Nina Tichava has created a set of nine vibrant monotypes created with etching ink on paper mounted on a panel and varnished with cold wax. Each print is framed floating in white with...

In his monotype, Opus 11, 2008, Keiji Shinohara uses his medium to disrupt the formulation of the landscape genre. A cross-section of sky, or perhaps water, inserts itself into the rich red pigment of the earth. The pale yellow and blue...

Artist: Kazuhide Yamazaki (Japanese-American, 1951-2023) Title: "Pitcher III" *Signed and dated by Yamazaki in pencil lower right Year: 1981 Medium: Original Monotype on Arches paper...

This large-scale, colorful ocean landscape monotype gives the viewer a hidden vantage point: through the dark silhouette of tangled vines can be seen a placid, turquoise sea lapping ...

Dramatic imagery from FILM NOIR series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett crea...

The present artwork is a vibrant and colorful example of the woodcut prints of Carol Summers. The image is dominated by the form of a red tropical flower, closely cropped around the petals like in the photographs of Imogen Cunningham and the paintings of Georgia O'Keeffe. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. 9.63 x 11.63 inches, artwork 21 x 23 inches, frame Edition 16/50 in pencil, lower right Titled in pencil, lower right Signed in pencil, lower center Framed to conservation standards using archival materials including 100 percent rag matting, Museum Glass to inhibit fading, and housed in a modern profile gold gilded wood moulding. Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and non-western as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...