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Emerson Woelffer Lithograph, 50/50 Signed, Dated, Unframed, Modern 74
$1,400
£1,057.93
€1,221.65
CA$1,956.29
A$2,170.67
CHF 1,137.04
MX$26,618.21
NOK 14,462.78
SEK 13,652.25
DKK 9,110.64
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About the Item
Nice lithograph, of the well-known modernist artist Emerson Woelffer. Signed, numbered 50/50. Dated 74.
- Creator:Emerson Woelffer (Artist)
- Dimensions:Height: 30 in (76.2 cm)Width: 22 in (55.88 cm)Depth: 0.1 in (2.54 mm)
- Style:Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1974
- Condition:Wear consistent with age and use. Minor yellow dot at edge in outside of litho, in white area. very light almost unocitable tone .
- Seller Location:Los Angeles, CA
- Reference Number:1stDibs: LU80895608513
Emerson Woelffer
Once dubbed “the Grandfather of L.A. Modernism,” the Chicago-born Emerson Seville Woelffer was active as an innovative painter, collagist, and educator throughout his long and prolific career. A pioneering Abstract Expressionist, Woelffer’s brightly colored work with jagged forms reveals Cubist and Surrealist influences. Coming of age in Chicago during the Great Depression, Woelffer appreciated the improvisational nature of jazz music, a sensibility he would later apply to painting through gestural variation, energetic strokes, and a rhythmic use of line. From 1935 to 1938, Woelffer, a high school dropout, studied at the Art Institute of Chicago while employed as a janitor, early evidence of his enduring work ethic. He joined the Works Progress Administration arts program in 1938 as an easel painter, followed by a two-year stint as a topographical draftsman for the United States Air Force. The director of the Chicago Institute of Design, László Moholy-Nagy, invited Woelffer to join the faculty in 1942. His experiences there brought him into contact with the modernist idiom of the day, and his interactions with students caused him to re-examine his own practice. He also exhibited in group shows at the Guggenheim Museum in New York, participated in the Whitney Museum Annual (1949) and won the Pauline Palmer Prize for painting at the Art Institute of Chicago (1948). In 1949 Emerson Woelffer and his wife Dina, a fine art photographer, were invited by Jackson Pollock and Lee Krasner to New York before they headed to Mexico’s Yucatán Peninsula. Exposure to Pre-Columbian art led Woelffer to incorporate totemic figures and vibrant colors into his abstract paintings. In 1959 Woelffer joined the faculty at the Chouinard Art Institute (later the California Institute of the Arts) in Los Angeles, where he instructed notable emerging artists until 1973 and where he was instrumental in bringing Modernism to LA. Ed Ruscha was one of his students. In 1974, Woelffer was named chair of the art department at the Otis Art Institute (now the Otis School of Art and Design). His tenure lasted until his retirement in 1989, and he was widely admired for his interdisciplinary approach in the classroom. An endowed scholarship fund in his name provides support for promising young artists and designers. Suffering from macular degeneration, Woelffer switched to drawing with white crayon on black paper in his final years of artistic activity. Emerson won a prestigious Guggenheim Foundation Fellowship in 1967 and then went to wprk in Europe. Woelffer’s work is represented in the collections of such distinguished institutions as the Smithsonian American Art Museum, the National Gallery of Art, and the Museum of Modern Art, among others.
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