The Head of a Female

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Valton Tyler
The Head of a Female
1971

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." (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) "The Head of a Female" is Plate Number 35, 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, “Among Valton’s first fifty prints is a very special one entitled ‘The Head of a Female.’ It has been stated that the preliminary drawing for this plate was done only because someone told Valton he could not do a realistic portrait. It is well known that Valton has painted in a realistic manner and is continually sketching the human form, but within the etchings Plate 35 is unique and reveals an important direction in Valton’s vision and expression that should not be ignored.” “Where inner surface line defines form in the other plates, it is strictly Valton’s sensitivity for contour line that creates the magic in this delicate profile. The outline pauses and continues around the face and neck, lending a soft vitality a continuous line could stiffen and restrict. The extensions of the eye, the crown of the head, and the breast are a trompe l’oeil effect Valton uses often in other plates. He is fascinated with dislocating forms so that they seem to be in two places at once. Valton plans to do a series of plates to accompany this one that will concern different parts of the body.” (Reynolds, p. 106). Media: line etching on BFK Rives rag paper Paper size: 24 x 24 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:
1971
Dimensions:
Height: 12 in (30.48 cm)Width: 9.75 in (24.77 cm)
Medium:
Etching
Movement & Style:
Surrealist
Period:
Late 20th Century
Condition:
Gallery Location:
Dallas, TX
Reference Number:
Seller: VT-35-021stDibs: LU2572280961

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