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Valton TylerBirth Then?1970
1970
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
About the Item
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. 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)
“Birth Then?” is Plate Number 30, and is illustrated 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, "Unlike the artist's usual fantasies, devoid of human content, which we try to enter and relate to, the imagery in "Birth Then?" and "Journey," (Plate No. 31), is Valton's most personal expression, symbolizing man and his psychological environment. The symbolism is clearly legible, and its reading is intentional. "Birth Then?" and its sequel, "Journey," not only reveal the story of the artist's emotional life but can be seen to stand as his statement on 'la condition humaine.'"
"In Plate 30 the large and rather iconic figure on the left symbolizes the artist's mother. She stands towering over the fragile figure of her son together with the globe representing the child's private world. A string tied at the mother's back symbolizes conflicting motives - her domination, the inability to release her hold on her son - as well as the child's emotions from which he tries to free himself." (Reynolds, p. 96)
Line etching on BFK Rives rag paper
Paper size: 21 3/4 x 23 1/2 inches
Edition: 5 Artists Proofs Imp. 50 Signed Prints Imp.
Bibliography:
Edward M. Gomez, "Futuristic Forms Frolic Under Eerie Texan Skies," The New York Times, June 13, 2000, page B2.
Edward M. Gomez, "Valton Tyler's Techno-Organic Landscapes," Raw Vision 35, Summer 2001, pages 34-39.
Rebecca Reynolds, "The First Fifty Prints: Valton Tyler," published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972.
- Creator:Valton Tyler (1944, American)
- Creation Year:1970
- Dimensions:Height: 17.75 in (45.09 cm)Width: 19.5 in (49.53 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Dallas, TX
- Reference Number:Seller: VT-30-011stDibs: LU2572000723
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