Alan Parker was born in the small town of Harvard, Nebraska in 1916. From an early age, he was interested in art and music. After graduating from the University of Nebraska in 1937 with a degree in art, he continued with postgraduate studies, while working as a teaching assistant, for another two years. His first job after university was as art director for a 27-branch chain of department stores, from 1939 to the end of 1941. From 1942 to 1946, Parker served as a naval officer in command of a sub-chaser and rescue boat off the east coast of Florida. During this period, he married Beatrice Lucille Ford, a writer from his hometown. After his service in the navy, the couple moved to Hastings, Nebraska, where Parker returned to his painting and, with the assistance of Beatrice, published a book about James Joyce. After another brief stay — in Greenwich Village, New York City — the couple moved to the Monterey Peninsula on the central coast of California, where they built a house and studio of Parker's design, high in the seaside Carmel Highlands. For the next 40 years, Parker quietly painted in his studio overlooking the Pacific Ocean. During his time in California, Parker's work evolved in four basic directions, or veins, as he called them. The first, the "Facade" series, studied color relationships in very simple formats, usually that of a checkerboard. The second and third groups, which he developed concurrently, were the "Wave" and "Concentric" series. The "Wave" works, to quote Parker, "are principally designed to put together two different elements, white and black, cold and hot, and let them interact and interchange so that one becomes the other by interchange of position and proportion.” The "Concentric" group of works were characterized by regular or irregular shapes, positioned one within the other in a concentric fashion. "Through the constantly changing relationship of color — hue, tone, and saturation intensity within these shapes, the paintings tend to optically move, to rotate, and even to pulsate in and out." The last major vein was the "Spectral" series, in which Parker studied the transition of colors through the visible spectrum.
Towards the end of his painting years, he began the study of what he at least once referred to as "Geometric Orphism." This was an interpretation of classical and Renaissance works, mostly black and white, into Cubist-like rich color compositions. This final phase of his studies produced several large paintings, none of which have yet to been seen by the public. Over the course of his career, Parker executed several large painted murals, and sculptures evolved from paintings, on commission for public buildings. During his active painting years, he occasionally provided color guidance to local architects' projects, taught classes in painting and conducted seminars in aesthetics at the University of California, Santa Cruz. In 1988, Parker moved with Beatrice to a retirement village in Oregon. His health declining, he did no further painting, but spent his time reading and playing J.S. Bach on his harpsichord. He died in 1993, followed by Beatrice in 1996. Upon the death of Alan and Beatrice Parker, most of Parker's works of art, unpublished professional writings and personal effects were willed to his friend, Serafino Hugo Bianchini, an architect of Monterey, California, who has since preserved, cataloged and photographed the works of Alan Parker, and, when possible, arranged for their public exhibition.
Alan Parker's works have been seen in group exhibitions at the Whitney Museum of American Art in New York City; at Art/USA in New York City; at the Museum of Modern Art and the Palace of the Legion of Honor in San Francisco; at the municipal art museums of Denver and Colorado Springs; and at numerous smaller art museums of cities, colleges and universities around the country. One-man exhibitions were given at the Monterey Museum of Art in 1976, at the Santa Barbara Museum of Art in 1968 and at several smaller municipal and college museums on other occasions. Major public works include a mural at the University of Nebraska at Lincoln; and, in the central California coastal area, a painted mural at a school in the city of Seaside; a tile mural at Juvenile Hall in Salinas, and a 30-by-10-foot concrete relief sculptural mural in the lobby of the County Courthouse in Salinas.
Lowest House, Geometric Aquatint Etching by Alan Parker
By Alan Parker
Located in Long Island City, NY
Artist: Alan Parker, Canadian Title: Lowest House Year: 1992 Medium: Etching with Aquatint, signed and numbered in pencil Image Size: 12.5 x 17.5 inches Size: 22 x 29.5 in. (55.88 ...
Etching, Aquatint
$9,000
H 32 in W 37 in
"Untitled" Donald Judd, Black and White, Stripes, Minimalist, Abstract Art
By Donald Judd
Located in New York, NY
Donald Judd Untitled, 1980 Signed "Judd" in pencil lower right margin and numbered Aquatint on etching paper Image 24 1/4 x 29 1/4 inches Sheet 29 1/8 x 34 inches Edition 29/150 Pro...
Paper, Etching, Aquatint
$12,000
H 40 in W 29.5 in D 0.02 in
Donald Judd 'Untitled, 1978-79' Signed, Limited Edition Aquatint Print
By Donald Judd
Located in San Rafael, CA
Donald Judd (American 1928-1994) Untitled, 1978-79. Aquatint on etching paper Signed and numbered 18/175 in pencil (there were also 15 artist's proofs) Published by the artist, with ...
Aquatint
UNTITLED (HOLLOW A 400), ED. 20/20
By Corban Walker
Located in Surfside, FL
Genre: Minimalism Subject: Abstract Medium: Etching Surface: Archival Paper Country: United States Dimensions: 22.25" x 22" Dimensions w/Frame: 23.25" x 23.25" CORBAN WALKER Dublin, ...
Etching
$5,000
H 30 in W 22 in
Abstract Color Field Red Purple Gradient Aquatint Etching California Minimalism
By Joe Novak
Located in Surfside, FL
"Voices IX" Aquatint Etching • Image: 12”x 14” • Paper: 30”x 22” • 2001 Hand signed and numbered 2/2 on BFK Rives paper. Joe Novak (1930-2019) California Contemporary Minimalist. His work is about the exploration of color and light through abstraction, with tonal gradations that infuse them with a meditative quality. During the eighties and nineties, he painted large monochromatic color field canvases with tonal gradations and soft edges that infuse them with a meditative quality and a sense of movement. When illuminated they become glowing surfaces of color and light. His artistic background and work link him closely with the first generation abstract expressionists of the New York School. Major influences include Jackson Pollock and Mark Rothko, and his mentors, Peter Busa and Esteban Vicente, whom he met and befriended during the eighties while living and painting in East Hampton. During the nineties, while living and working in Santa Fe, New Mexico, Novak initiated a project called "Light Emanations", in which he created digital computerized programs of changing light levels and configurations on a selection of his large paintings, dramatically illustrating the effect of light changes on color perception. Novak's body of work is extensive and include painting on canvas, panel and paper as well as monotypes, drawings, assemblages, mixed media and prints. He has often worked in series, focusing on a particular medium for years. Among these are "Meditations" (color pencil drawings), "Voices" and "Voices 2" (color aquatint etchings), "Echoes" (painting assemblage with minerals) and "Colors" (350 miniature panel paintings). In recent years his paintings have become more gestural, often with musical allusions. His work bears a relationship to the Light & Space Movement and Minimalism artists James Turrell, Larry Bell, Craig Kauffman, Billy Al Bengston, Peter Alexander, Laddie John Dill, Lita Albuquerque. these are also anticipative of the aquatint etching works by Anish Kapoor. Color Gradient, Abstract Art, Land Art. During the eighties and nineties, he painted large monochromatic color field canvases with tonal gradations and soft edges that infuse them with a meditative quality and a sense of movement. When illuminated they become glowing surfaces of color and light. Critic Christopher Knight wrote, Novak is an unabashed Color Field painter. His paintings and aquatints at Bert Green Fine Arts — the Santa Fe artist's third show there — feature works that will call to mind abstractions as diverse as those by Helen Frankenthaler, Mark Rothko and Morris Louis and the landscape abstractions of Joe Goode. Novak's work is in many public and private collections, including numerous museum collections. He spent his last years living in Palm Springs. Selected Group Exhibitions Bert Green Fine Art, Chicago, Illinois "Joe Novak/Huck Lewis-Bennett: A Collaboration", Stephen Archdeacon Gallery, Palm Springs Melissa Morgan Fine Art...
Color, Etching, Aquatint, Monoprint
$479
H 27.56 in W 20.48 in D 0.04 in
Violet composition - Etching by Oscar Piattella - 1975
By Oscar Piattella
Located in Roma, IT
Violet composition is an original artwork realized in 1975 by Oscar Piattella. Hand signed, dated on the lower right margin. Numbered on the lower left. Edition of 54/100 prints. ...
Etching
$4,000
H 15.75 in W 13.25 in D 0.75 in
Joel Shapiro, print by Minimalist sculptor, hand signed/N w/provenance, Framed
By Joel Shapiro
Located in New York, NY
Joel Shapiro For the Archives, 2008 Epson inkjet print on cotton etching paper Hand-signed by artist, Hand signed and numbered 171/175 by Joel Shapiro on the front Bears label from T...
Pencil, Graphite, Inkjet, Etching
Two Open Squares Within a Red Area
By Robert Mangold
Located in New York, NY
Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...
Paper, Etching, Aquatint
$1,500
H 5.9 in W 4.5 in
Bernar Venet, Acute Uneven Angles (A), Gravure aquatint burnishing and Drypoint
By Bernar Venet
Located in New York, NY
Bernar Venet Acute Uneven Angles (A), 2016 Direct gravure, aquatint, burnishing and drypoint. Pencil signed and numbered 42 from the limited edition of 75 by the artist on the front ...
Etching, Aquatint, Engraving
Untitled
By Donald Judd
Located in New York, NY
Created by Donald Judd as an aquatint on wove paper, Untitled, 1978-79 is hand-signed and numbered in pencil, measuring 40 3/8 x 29 5/8 (102.7 x 75.3 cm.), unframed, and is from the ...
Aquatint
Two Open Squares Within a Green Area
By Robert Mangold
Located in New York, NY
Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...
Etching
$5,000
H 30 in W 22 in
Abstract Color Field Gradient Monoprint Aquatint Etching California Minimalism
By Joe Novak
Located in Surfside, FL
"Voices XXI" Aquatint Etching • Monoprint Image: 12”x 14” • Paper: 30”x 22” • 2001 Hand signed and numbered 1/1 on BFK Rives paper. Joe Novak (1930-2019) California Contemporary Minimalist. His work is about the exploration of color and light through abstraction, with tonal gradations that infuse them with a meditative quality. During the eighties and nineties, he painted large monochromatic color field canvases with tonal gradations and soft edges that infuse them with a meditative quality and a sense of movement. When illuminated they become glowing surfaces of color and light. His artistic background and work link him closely with the first generation abstract expressionists of the New York School. Major influences include Jackson Pollock and Mark Rothko, and his mentors, Peter Busa and Esteban Vicente, whom he met and befriended during the eighties while living and painting in East Hampton. During the nineties, while living and working in Santa Fe, New Mexico, Novak initiated a project called "Light Emanations", in which he created digital computerized programs of changing light levels and configurations on a selection of his large paintings, dramatically illustrating the effect of light changes on color perception. Novak's body of work is extensive and include painting on canvas, panel and paper as well as monotypes, drawings, assemblages, mixed media and prints. He has often worked in series, focusing on a particular medium for years. Among these are "Meditations" (color pencil drawings), "Voices" and "Voices 2" (color aquatint etchings), "Echoes" (painting assemblage with minerals) and "Colors" (350 miniature panel paintings). In recent years his paintings have become more gestural, often with musical allusions. His work bears a relationship to the Light & Space Movement and Minimalism artists James Turrell, Larry Bell, Craig Kauffman, Billy Al Bengston, Peter Alexander, Laddie John Dill, Lita Albuquerque. these are also anticipative of the aquatint etching works by Anish Kapoor. Color Gradient, Abstract Art, Land Art. During the eighties and nineties, he painted large monochromatic color field canvases with tonal gradations and soft edges that infuse them with a meditative quality and a sense of movement. When illuminated they become glowing surfaces of color and light. Critic Christopher Knight wrote, Novak is an unabashed Color Field painter. His paintings and aquatints at Bert Green Fine Arts — the Santa Fe artist's third show there — feature works that will call to mind abstractions as diverse as those by Helen Frankenthaler, Mark Rothko and Morris Louis and the landscape abstractions of Joe Goode. Novak's work is in many public and private collections, including numerous museum collections. He spent his last years living in Palm Springs. Selected Group Exhibitions Bert Green Fine Art, Chicago, Illinois "Joe Novak/Huck Lewis-Bennett: A Collaboration", Stephen Archdeacon Gallery, Palm Springs Melissa Morgan Fine Art...
Color, Etching, Aquatint, Monoprint
$9,473
H 10.04 in W 8.27 in
Brice Marden, Etching for Parkett - Signed Print, Minimalism, Abstract Art
By Brice Marden
Located in Hamburg, DE
Brice Marden (American, b. 1938) Etching for Parkett, 1986 Medium: Sugar lift and aquatint on Rives BFK, bound in Parkett journal no. 7 Dimensions: 25.5 x 21 cm Edition of 100: Hand-...
Aquatint