Original Limited Edition Signed Johnny Friedlaender Aquatint Modern Abstract

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Seller: maximiliano-di-lago-di-como-fine-art ✉️ (299) 100%, Location: La Jolla, California, US, Ships to: WORLDWIDE, Item: 282275081653 ORIGINAL LIMITED EDITION SIGNED JOHNNY FRIEDLAENDER AQUATINT MODERN ABSTRACT.

WE WILL SHIP THIS PRINT IN A TUBE, REMOVED FROM ALL FRAMING AND MAT. IF BUYER WANTS THE FRAME AND MAT, PLEASE CONTACT US FOR EXACT SHIPPING COST TO YOUR LOCATION. FREE LOCAL PICK UP IS AVAILABLE IN SAN DIEGO, CALIFORNIA, USA. FREE SHIPPING IN A TUBE IS AVAILABLE FOR USA ONLY. INTERNATIONAL BUYERS TO PLEASE PAY ACTUAL SHIPPING COST. INTERNATIONAL SHIPPING WILL BE OF THE PRINT ONLY IN A TUBE.  This print is signed and numbered - please see photos. This acquatint has artistic integrity and looks great and would complement any modern home. If you know the date or any other information about this particular print by Johnny Friedlaender please contact us. This print is number 45 / 95 and the bottom right hand corner has an embossed stamp below the original signature that states "Horn Editions New York" The outside of the frame measures about 40 1/4 inches by 37 1/2 inches. The window inside the mat where the print is visible measures about 31 inches by 29 inches. The work is framed in Plexiglass and a simple metal frame. We will give buyers the option of only receiving the print in a tube in order to save on shipping, or we can ship the entire framed piece if that is the buyer's choice. Original abstract print, formerly in the collection of a large American Corporation. PleaseCLICK HERE and then on “Contact”on the right of that page or on the link at the bottom of this page titled"Ask a question" and contact us if you have any questions. Please see our other art for sale by CLICKING HERE or on "See other items" on thetop right of this page. Free local pick up is available in our secure professional offices. Johnny Friedlaender From Wikipedia, the free encyclopedia This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (August 2009) Bronze relief by Johnny Friedlaender Johnny Friedlaender (26 December 1912 – 18 June 1992) was a leading 20th-century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery. His preferred medium of aquatint etching is a technically difficult artistic process, of which Friedlaender has been a pioneer. Contents1 Early years2 Re-entry to Paris3 International recognition4 Selected works5 See also6 Bibliography7 Further reading8 External linksEarly years Gotthard Johnny Friedlaender was born in Pless (Pszczyna), Prussian Silesia, as the son of a pharmacist. He was graduated from the Breslau (Wrocław) high school in 1922 and then attended the Academy of Arts (Akademie der Bildenden Kunste) in Breslau, where he studied under Otto Mueller. He graduated from the Academy as a master student in 1928. In 1930 he moved to Dresden where he held exhibitions at the J. Sandel Gallery and at the Dresden Art Museum. He was in Berlin for part of 1933, and then journeyed to Paris. After two years in a Nazi concentration camp, he emigrated to Czechoslovakia, where he settled in Ostrava, where he held the first one man show of his etchings.Re-entry to Paris In 1936 Friedlaender journeyed to Czechoslovakia, Switzerland, Austria, France and Belgium. At the Hague he held a successful exhibition of etchings and watercolours. He fled to Paris in 1937 as a political refugee of the Nazi regime with his young wife, who was an actress. In that year he held an exhibition of his etchings which included the works: L ‘Equipe and Matieres et Formes. From 1939 to 1943 he was interned in a series of concentration camps, but survived against poor odds. After freedom in 1944 Friedlaender began a series of twelve etchings entitled Images du Malheur with Sagile as his publisher. In the same year he received a commission to illustrate four books by Freres Tharaud of the French Academy. In 1945 he performed work for several newspapers including Cavalcade and Carrefour. In the year 1947 he produced the work Reves Cosmiques and in that same year he became a member of the Salon de Mai, which position he held until 1969. In the year 1948 he began a friendship with the painter Nicolas de Staël and held his first exhibition in Copenhagen at Galerie Birch. The following year he showed for the first time in Galerie La Hune in Paris. After living in Paris for 13 years, Friedlaender became a French citizen in 1950. Friedlaender expanded his geographic scope in 1951 and exhibited in Tokyo in a modern art show. In the same year he was a participant in the XI Trienale in Milan, Italy. By 1953 he had produced works for a one man show at the Museum of Neuchâtel and exhibited at the Galerie Moers in Amsterdam, the II Camino Gallery in Rome, in São Paulo, Brazil and in Paris. He was a participant of the French Italian Art Conference in Turin, Italy that same year.International recognition Friedlaender accepted an international art award in 1957, becoming the recipient of the Biennial Kakamura Prize in Tokyo. In 1959 he received a teaching post awarded by UNESCO at the Museum of Modern Art in Rio de Janeiro. By 1968 Friedlaender was travelling to Puerto Rico, New York and Washington, D.C. to hold exhibitions. That year he also purchased a home in the Burgundy region of France. 1971 was another year of diverse international travel including shows in Bern, Milan, Paris, Krefeld and again New York. In the latter city he exhibited paintings at the Far Gallery, a venue becoming well known for its patronage of important twentieth-century artists. From his atelier in Paris Friedlaender instructed younger artists who themselves went on to become noteworthy, among them Arthur Luiz Piza, Brigitte Coudrain, Rene Carcan, Andreas Nottebohm, and Graciela Rodo Boulanger. Like Friedlaender, these students were expert in the lithographic and etching arts. 1978 brought a retrospective of Friedlaender's works at the Musee d’Art Moderne de la Ville de Paris. He was awarded the Lovis Corinth Prize in Regensburg three years later. On his 75th birthday, Friedlaender was given a retrospective in the Bremen Art Museum. On his 80th birthday a retrospective exhibition was held in Bonn, Germany at the municipal council offices. Friedlaender died in Paris at the age of 80.Selected works Enigme handsigned edition of 150 (1991) Jeux, handsigned edition of 150 Sonnette für Orpheus, handsigned edition of 135 Radierungen 1949-1989: Eine Auswahl, colour album published by Peerlings GallerySee also List of German paintersBibliography Rolf Schmücking, Friedländer: 100 Radierungen, Verlag Galerie Schmücking, Basel, 1983Further reading Johnny Friedlaender: oeuvre, 1961-1965, Touchstone Publ., New York, 1967External links Eine etwas ausführlichere Biografie des Künstlers Catalogue raisonné of the oil paintings and Biography Authority control WorldCat VIAF: 59082676 LCCN: n50027093 ISNI: 0000 0000 8137 6157 GND: 118535609 BNF: cb119036189 (data) Categories: German artists 20th-century German painters German printmakers Nazi concentration camp survivors German Jews People from the Province of Silesia People from Pszczyna 1912 births 1992 deaths Officers Crosses of the Order of Merit of the Federal Republic of Germany International Buyers - We will invoice buyer for actual shipping costs with insurance after we knowyour location and address. We will only ship this painting with adequateinsurance to cover the painting to your location. We will assist buyers in China, Japan, the Middle East, Asia,Europe, etc. with professional international art shipping with insurance. International shipping: Import duties,taxes, and any additional charges, are sometimes not included in the upfrontshipping costs evaluation and are always the buyers’ responsibility solely, andinternational shipping can take a long time for transport and customs clearance. We must and will fill out allcustoms forms accurately, honestly, and completely. When you buy from us, wewill mark customs forms correctly as “merchandise” with the exact purchaseprice you paid. Entanglements with your country's internal customs department and import duties issues (paperwork, fees, customs taxes, etc.) are entirely buyers' sole responsibility to deal with and buyer bears all risk of transport (including insurance claims process and maintenance of shipping materials for insurance inspection) and all risks associated with damage and insurance claims, dealing with customs clearance in the USA and abroad, and import duties issues. SHIPPING COSTS STATED ON THE AUCTIONARE ESTIMATES ONLY AND WE WILL INVOICE BUYER FOR ACTUAL SHIPPING COST TO BUYER’SLOCATION WITH INSURANCE. Related Wikipedia Articles: Abstract art From Wikipedia, the free encyclopedia Robert Delaunay, 1912-13, Le Premier Disque, 134 cm (52.7 in.), Private collection. Abstract art uses a visual language of form, color and line to create a composition which may exist with a degree of independence from visual references in the world.[1] Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. The arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time.[2] Abstract art, nonfigurative art, nonobjective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning. Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete. Abstraction exists along a continuum. Even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities. Figurative art and total abstraction are almost mutually exclusive. But figurative and representational (or realistic) art often contains partial abstraction. Both geometric abstraction and lyrical abstraction are often totally abstract. Among the very numerous art movements that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered vis-a-vis reality, and cubism, which blatantly alters the forms of the real life entities depicted.[3][4] Contents1 History1.1 Abstraction in early art and many cultures1.2 19th century1.3 20th century1.4 Music1.5 Russian avant-garde1.6 The Bauhaus1.7 Abstraction in Paris and London1.8 America: mid-century2 Abstraction in the 21st century3 Causation4 Gallery5 See also6 References7 Sources8 External linksHistory Main articles: History of painting and Western paintingAbstraction in early art and many cultures Main articles: Prehistoric art and Eastern art history Much of the art of earlier cultures – signs and marks on pottery, textiles, and inscriptions and paintings on rock – were simple, geometric and linear forms which might have had a symbolic or decorative purpose.[5] It is at this level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it.19th century Main articles: Romanticism, Impressionism, Post-Impressionism and Expressionism Three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century. Patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists.[citation needed] James McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket (1874), Detroit Institute of Arts. A near abstraction, in 1877 Whistler sued the art critic John Ruskin for libel after the critic condemned this painting. Ruskin accused Whistler of "ask[ing] two hundred guineas for throwing a pot of paint in the public's face." [6][7] Early intimations of a new art had been made by James McNeill Whistler who, in his painting Nocturne in Black and Gold: The falling Rocket, (1872), placed greater emphasis on visual sensation than the depiction of objects. An objective interest in what is seen, can be discerned from the paintings of John Constable, J M W Turner, Camille Corot and from them to the Impressionists who continued the plein air painting of the Barbizon school. Paul Cézanne had begun as an Impressionist but his aim - to make a logical construction of reality based on a view from a single point,[8] with modulated colour in flat areas - became the basis of a new visual art, later to be developed into Cubism by Georges Braque and Pablo Picasso. Expressionist painters explored the bold use of paint surface, drawing distortions and exaggerations, and intense color. Expressionists produced emotionally charged paintings that were reactions to and perceptions of contemporary experience; and reactions to Impressionism and other more conservative directions of late 19th-century painting. The Expressionists drastically changed the emphasis on subject matter in favor of the portrayal of psychological states of being. Although artists like Edvard Munch and James Ensor drew influences principally from the work of the Post-Impressionists they were instrumental to the advent of abstraction in the 20th century. Henri Matisse, The Yellow Curtain, 1915. With his Fauvist color and drawing Matisse comes very close to pure abstraction. Additionally in the late 19th century in Eastern Europe mysticism and early modernist religious philosophy as expressed by theosophist Mme. Blavatsky had a profound impact on pioneer geometric artists like Wassily Kandinsky, and Hilma af Klint. The mystical teaching of Georges Gurdjieff and P.D. Ouspensky also had an important influence on the early formations of the geometric abstract styles of Piet Mondrian and his colleagues in the early 20th century.[9]20th century Main articles: Western painting, Fauvism and Cubism Post Impressionism as practiced by Paul Gauguin, Georges Seurat, Vincent van Gogh and Paul Cézanne had an enormous impact on 20th-century art and led to the advent of 20th-century abstraction. The heritage of painters like Van Gogh, Cézanne, Gauguin, and Seurat was essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive, landscapes and figure paintings that the critics called Fauvism. With his expressive use of color and his free and imaginative drawing Henri Matisse comes very close to pure abstraction in French Window at Collioure, (1914), View of Notre-Dame, (1914), and The Yellow Curtain from 1915. The raw language of color as developed by the Fauves directly influenced another pioneer of abstraction Wassily Kandinsky (see illustration). Although Cubism ultimately depends upon subject matter, it became, along with Fauvism, the art movement that directly opened the door to abstraction in the 20th century. Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon 1907, Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism was jointly developed by Pablo Picasso and Georges Braque, from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practised by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and countless other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. The collage artists like Kurt Schwitters and Man Ray and others taking the clue from Cubism were instrumental to the development of the movement called Dada. František Kupka, Amorpha, Fugue en deux couleurs (Fugue in Two Colors), 1912, oil on canvas, 210 x 200 cm, Narodni Galerie, Prague. Published in Au Salon d'Automne "Les Indépendants" 1912, Exhibited at the 1912 Salon d'Automne, Paris. Robert Delaunay, 1912, Windows Open Simultaneously (First Part, Third Motif), oil on canvas, 45.7 x 37.5 cm, Tate Modern The Italian poet Marinetti published 'The Founding and Manifesto of Futurism' in 1909, which inspired artists such as Carlo Carra in, Painting of Sounds, Noises and Smells and Umberto Boccioni Train in Motion, 1911, to a further stage of abstraction and profoundly influenced art movements throughout Europe.[10] During the 1912 Salon de la Section d'Or the poet Guillaume Apollinaire named the work of several artists including Robert and Sonia Delaunay, Orphism.[11] He defined it as, the art of painting new structures out of elements that have not been borrowed from the visual sphere, but had been created entirely by the artist...it is a pure art.[12] Since the turn of the century cultural connections between artists of the major European and American cities had become extremely active as they strove to create an art form equal to the high aspirations of modernism. Ideas were able to cross-fertilize by means of artists books, exhibitions and manifestos so that many sources were open to experimentation and discussion, and formed a basis for a diversity of modes of abstraction. The following extract from,'The World Backwards', gives some impression of the inter-connectedness of culture at the time: 'David Burliuk's knowledge of modern art movements must have been extremely up-to-date, for the second Knave of Diamonds exhibition, held in January 1912 (in Moscow) included not only paintings sent from Munich, but some members of the German Die Brücke group, while from Paris came work by Robert Delaunay, Henri Matisse and Fernand Léger, as well as Picasso. During the Spring David Burliuk gave two lectures on cubism and planned a polemical publication, which the Knave of Diamonds was to finance. He went abroad in May and came back determined to rival the almanac Der Blaue Reiter which had emerged from the printers while he was in Germany'. From 1909 to 1913 many experimental works in the search for this 'pure art' had been created: Francis Picabia painted Caoutchouc, 1909,[13] The Spring, 1912,[14] Dances at the Spring[15] and The Procession, Seville, 1912;[16] Wassily Kandinsky painted Untitled (First Abstract Watercolor), 1910,[17] Improvisation 21A, the Impression series, and Picture with a Circle (1911);[18] František Kupka had painted the Orphist works, Discs of Newton (Study for Fugue in Two Colors), 1912[19] and Amorpha, Fugue en deux couleurs (Fugue in Two Colors), 1912; Robert Delaunay painted a series entitled Simultaneous Windows and Formes Circulaires, Soleil n°2 (1912–13);[20] Léopold Survage created Colored Rhythm (Study for the film), 1913;[21] Piet Mondrian, painted Tableau No. 1 and Composition No. 11, 1913.[22] Wassily Kandinsky, On White 2, 1923 And the search continued: The Rayist (Luchizm) drawings of Natalia Goncharova and Mikhail Larionov, used lines like rays of light to make a construction. Kasimir Malevich completed his first entirely abstract work, the Suprematist, 'Black Square', in 1915. Another of the Suprematist group' Liubov Popova, created the Architectonic Constructions and Spatial Force Constructions between 1916 and 1921. Piet Mondrian was evolving his abstract language, of horizontal and vertical lines with rectangles of colour, between 1915 and 1919, Neo-Plasticism was the aesthetic which Mondrian, Theo van Doesburg and other in the group De Stijl intended to reshape the environment of the future.Music As visual art becomes more abstract, it develops some characteristics of music: an art form which uses the abstract elements of sound and divisions of time. Wassily Kandinsky, himself a musician, was inspired by the possibility of marks and associative color resounding in the soul. The idea had been put forward by Charles Baudelaire, that all our senses respond to various stimuli but the senses are connected at a deeper aesthetic level. Closely related to this, is the idea that art has The spiritual dimension and can transcend 'every-day' experience, reaching a spiritual plane. The Theosophical Society popularised the ancient wisdom of the sacred books of India and China in the early years of the century. It was in this context that Piet Mondrian, Wassily Kandinsky, Hilma af Klint and other artists working towards an 'objectless state' became interested in the occult as a way of creating an 'inner' object. The universal and timeless shapes found in geometry: the circle, square and triangle become the spatial elements in abstract art; they are, like color, fundamental systems underlying visible reality.Russian avant-garde Kazimir Malevich, Black Square, 1915, The Russian Museum Main articles: Russian avant-garde and Futurism (art) Many of the abstract artists in Russia became Constructivists believing that art was no longer something remote, but life itself. The artist must become a technician, learning to use the tools and materials of modern production. Art into life! was Vladimir Tatlin's slogan, and that of all the future Constructivists. Varvara Stepanova and Alexandre Exter and others abandoned easel painting and diverted their energies to theatre design and graphic works. On the other side stood Kazimir Malevich, Anton Pevsner and Naum Gabo. They argued that art was essentially a spiritual activity; to create the individual's place in the world, not to organise life in a practical, materialistic sense. Many of those who were hostile to the materialist production idea of art left Russia. Anton Pevsner went to France, Gabo went first to Berlin, then to England and finally to America. Kandinsky studied in Moscow then left for the Bauhaus. By the mid-1920s the revolutionary period (1917 to 1921) when artists had been free to experiment was over; and by the 1930s only socialist realism was allowed.[23]The Bauhaus The Bauhaus at Weimar, Germany was founded in 1919 by Walter Gropius.[24] The philosophy underlying the teaching program was unity of all the visual and plastic arts from architecture and painting to weaving and stained glass. This philosophy had grown from the ideas of the Arts and Crafts movement in England and the Deutscher Werkbund. Among the teachers were Paul Klee, Wassily Kandinsky, Johannes Itten, Josef Albers, Anni Albers, Theo van Doesburg and László Moholy-Nagy. In 1925 the school was moved to Dessau and, as the Nazi party gained control in 1932, The Bauhaus was closed. In 1937 an exhibition of degenerate art, 'Entartete Kunst' contained all types of avant-garde art disapproved of by the Nazi party. Then the exodus began: not just from the Bauhaus but from Europe in general; to Paris, London and America. Paul Klee went to Switzerland but many of the artists at the Bauhaus went to America.Abstraction in Paris and London Kurt Schwitters, Das Undbild, 1919, Staatsgalerie Stuttgart During the 1930s Paris became the host to artists from Russia, Germany, Holland and other European countries affected by the rise of totalitarianism. Sophie Tauber and Jean Arp collaborated on paintings and sculpture using organic/geometric forms. The Polish Katarzyna Kobro applied mathematically based ideas to sculpture. The many types of abstraction now in close proximity led to attempts by artists to analyse the various conceptual and aesthetic groupings. An exhibition by forty-six members of the Cercle et Carré group organised by Michel Seuphor [25] contained work by the Neo-Plasticists as well as abstractionists as varied as Kandinsky, Anton Pevsner and Kurt Schwitters. Criticised by Theo van Doesburg to be too indefinite a collection he published the journal Art Concret setting out a manifesto defining an abstract art in which the line, color and surface only, are the concrete reality.[26] Abstraction-Création founded in 1931 as a more open group, provided a point of reference for abstract artists, as the political situation worsened in 1935, and artists again regrouped, many in London. The first exhibition of British abstract art was held in England in 1935. The following year the more international Abstract and Concrete exhibition was organised by Nicolete Gray including work by Piet Mondrian, Joan Miró, Barbara Hepworth and Ben Nicholson. Hepworth, Nicholson and Gabo moved to the St. Ives group in Cornwall to continue their 'constructivist' work.[27]America: mid-century Main articles: Modernism, Late modernism, American Modernism and Surrealism The above is a 1939–42 oil on canvas painting by Mondrian titled "Composition No. 10". Responding to it, fellow De Stijl artist Theo van Doesburg suggested a link between non-representational works of art and ideals of peace and spirituality.[28] During the Nazi rise to power in the 1930s many artists fled Europe to the United States. By the early 1940s the main movements in modern art, expressionism, cubism, abstraction, surrealism, and dada were represented in New York: Marcel Duchamp, Fernand Léger, Piet Mondrian, Jacques Lipchitz, André Masson, Max Ernst, André Breton, were just a few of the exiled Europeans who arrived in New York.[29] The rich cultural influences brought by the European artists were distilled and built upon by local New York painters. The climate of freedom in New York allowed all of these influences to flourish. The art galleries that primarily had focused on European art began to notice the local art community and the work of younger American artists who had begun to mature. Certain of these artists became distinctly abstract in their mature work. During this period Piet Mondrian's painting Composition No. 10, 1939-1942, characterized by primary colors, white ground and black grid lines clearly defined his radical but classical approach to the rectangle and abstract art in general. Some artists of the period defied categorization, such as Georgia O'Keeffe who, while a modernist abstractionist, was a pure maverick in that she painted highly abstract forms while not joining any specific group of the period. Eventually American artists who were working in a great diversity of styles began to coalesce into cohesive stylistic groups. The best known group of American artists became known as the Abstract expressionists and the New York School. In New York City there was an atmosphere which encouraged discussion and there was new opportunity for learning and growing. Artists and teachers John D. Graham and Hans Hofmann became important bridge figures between the newly arrived European Modernists and the younger American artists coming of age. Mark Rothko, born in Russia, began with strongly surrealist imagery which later dissolved into his powerful color compositions of the early 1950s. The expressionistic gesture and the act of painting itself, became of primary importance to Jackson Pollock and Franz Kline. While during the 1940s Arshile Gorky's and Willem de Kooning's figurative work evolved into abstraction by the end of the decade. New York City became the center, and artists worldwide gravitated towards it; from other places in America as well.[30]Abstraction in the 21st century Main articles: Abstract expressionism, Color field, Lyrical abstraction, Post-painterly abstraction, Sculpture and Minimal art A commonly held idea is that pluralism characterizes art at the beginning of the 21st century. There is no consensus, nor need there be, as to a representative style of the age. There is an anything goes attitude that prevails; an "everything going on", and consequently "nothing going on" syndrome; this creates an aesthetic traffic jam with no firm and clear direction and with every lane on the artistic superhighway filled to capacity. Consequently magnificent and important works of art continue to be made albeit in a wide variety of styles and aesthetic temperaments, the marketplace being left to judge merit. Digital art, computer art, internet art, hard-edge painting, geometric abstraction, appropriation, hyperrealism, photorealism, expressionism, minimalism, lyrical abstraction, pop art, op art, abstract expressionism, color field painting, monochrome painting, neo-expressionism, collage, decollage, intermedia, assemblage, digital painting, postmodern art, neo-Dada painting, shaped canvas painting, environmental mural painting, graffiti, figure painting, landscape painting, portrait painting, are a few continuing and current directions at the beginning of the 21st century. Into the 21st century abstraction remains very much in view, its main themes: the transcendental, the contemplative and the timeless are exempified by Barnett Newman, John McLaughlin, and Agnes Martin as well as younger living artists. Art as Object as seen in the Minimalist sculpture of Donald Judd and the paintings of Frank Stella are still seen today in newer permutations. The poetic, Lyrical Abstraction and the sensuous use of color seen in the work of painters as diverse as Robert Motherwell, Patrick Heron, Kenneth Noland, Sam Francis, Cy Twombly, Richard Diebenkorn, Helen Frankenthaler, Joan Mitchell, among others. There was a resurgence after the war and into the 1950s of the figurative, as neo-Dada, fluxus, happening, conceptual art, neo-expressionism, installation art, performance art, video art and pop art have come to signify the age of consumerism. The distinction between abstract and figurative art has, over the last twenty years, become less defined leaving a wider range of ideas for all artists.Causation One socio-historical explanation that has been offered for the growing prevalence of the abstract in modern art – an explanation linked to the name of Theodor W. Adorno – is that such abstraction is a response to, and a reflection of, the growing abstraction of social relations in industrial society.[31] Frederic Jameson similarly sees modernist abstraction as a function of the abstract power of money, equating all things equally as exchange-values.[32] The social content of abstract art is then precisely the abstract nature of social existence – legal formalities, bureaucratic impersonalisation, information/power – in the world of late modernity.[33] Post-Jungians by contrast would see the quantum theories with their disintegration of conventional ideas of form and matter as underlying the divorce of the concrete and the abstract in modern art.[34]Gallery Albert Gleizes, 1910–12, Les Arbres (The Trees), oil on canvas, 41 x 27 cm. Reproduced in Du "Cubisme", 1912 Arthur Dove, 1911–12, Based on Leaf Forms and Spaces, pastel on unidentified support. Now lost Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York. Reproduced in Du "Cubisme" Wassily Kandinsky, 1912, Improvisation 27 (Garden of Love II), oil on canvas, 47 3/8 x 55 1/4 in. (120.3 x 140.3 cm), The Metropolitan Museum of Art, New York. Exhibited at the 1913 Armory Show Pablo Picasso, 1913–14, Head (Tête), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 x 33 cm, Scottish National Gallery of Modern Art, Edinburgh Henri Matisse, 1914, French Window at Collioure, Centre Georges Pompidou, Paris Joseph Csaky, Deux figures, 1920, relief, limestone, polychrome, 80 cm, Kröller-Müller Museum, Otterlo Albert Gleizes, 1921, Composition bleu et jaune (Composition jaune), oil on canvas, 200.5 x 110 cm Paul Klee, Fire in the Evening, 1929 Barnett Newman, Onement 1, 1948, Museum of Modern Art, New York Fernand Léger 1919, The Railway Crossing, oil on canvas, 53.8 x 64.8 cm, The Art Institute of Chicago Theo van Doesburg, Neo-Plasticism: 1917, Composition VII (the three graces)See also Abstract expressionism Abstraction in art Action painting American Abstract Artists Art history Art periods Asemic writing Concrete art De Stijl Geometric abstraction Hard-edge History of painting Lyrical abstraction Op Art Piet (programming language), an esoteric programming language whose programs are bitmaps that appear as abstract art, named after the Dutch painter, Piet Mondrian Representation (arts) Spatialism Western paintingReferences Rudolph Arnheim, Visual Thinking Mel Gooding, Abstract Art, Tate Publishing, London, 2000 "Abstract Art - What Is Abstract Art or Abstract Painting, retrieved January 7, 2009". Painting.about.com. 2011-06-07. Archived from the original on 7 July 2011. Retrieved 2011-06-11. "Themes in American Art - Abstraction, retrieved January 7, 2009". Nga.gov. 2000-07-27. Archived from the original on 8 June 2011. Retrieved 2011-06-11. György Kepes, Sign, Symbol and Image Whistler versus Ruskin, Princeton edu. Retrieved June 13, 2010 From the Tate, retrieved April 12, 2009 Herbert Read, A Concise History of Modern Art, Thames and Hudson "Hilton Kramer, "Mondrian & mysticism: My long search is over", ''New Criterion'', September 1995". Newcriterion.com. Retrieved 2012-02-26. Caroline Tisdall and Angelo Bozzolla, Futurism, Thames and Hudson,1977 La Section d'or, 1912-1920-1925, Cécile Debray, Françoise Lucbert, Musées de Châteauroux, Musée Fabre, exhibition catalogue, Éditions Cercle d'art, Paris, 2000 Harrison and Wood, Art in theory, 1900-2000, Wiley-Blackwell, 2003, p. 189. ISBN 978-0-631-22708-3.books.google.com" "Francis Picabia, Caoutchouc, 1909, MNAM, Paris". Francispicabia.org. Retrieved 2013-09-29. "Museum of Modern Art, New York, Francis Picabia, ''The Spring'', 1912". Moma.org. Retrieved 2013-09-29. "MoMA, New York, Francis Picabia, ''Dances at the Spring'', 1912". Moma.org. Retrieved 2013-09-29. "National Gallery of Art, Washington, DC., Francis Picabia, The Procession, Seville, 1912". Nga.gov. Retrieved 2013-09-29. Stan Rummel (2007-12-13). "Wassily Kandinsky, ''Untitled'' (First Abstract Watercolor), 1910". Faculty.txwes.edu. Retrieved 2013-09-29. "The Fiftieth Anniversary of the Guggenheim Museum, Kandinsky Retrospective, Guggenheim Museum, New York, 2009" (PDF). Retrieved 2013-09-29. "Philadelphia Museum of Art, Disks of Newton (Study for "Fugue in Two Colors") 1912". Philamuseum.org. Retrieved 2013-09-29. "Musée National d'Art Moderne, Centre Georges Pompidou, Paris, Robert Delaunay, ''Formes Circulaires, Soleil n°2'' (1912-13)" (in French). Centrepompidou.fr. Retrieved 2013-09-29. "Museum of Modern Art, New York, Léopold Survage, Colored Rhythm (Study for the film) 1913". Moma.org. 1914-07-15. Retrieved 2013-09-29. "Rijksmuseum Kröller-Müller, Otterlo, Holland, Piet Mondrian, 1913". Kmm.nl. Retrieved 2013-09-29. Camilla Gray, The Russian Experiment in Art, 1863-1922, Thames and Hudson, 1962 Walter Gropius et al., Bauhaus 1919-1928, Museum of Modern Art, 1938 Michel Seuphor, Abstract Painting Anna Moszynska, Abstract Art, p.104, Thames and Hudson, 1990 Anna Moszynska, Abstract Art, Thames and Hudson, 1990 Utopian Reality: Reconstructing Culture in Revolutionary Russia and Beyond; Christina Lodder, Maria Kokkori, Maria Mileeva; BRILL, Oct 24, 2013 "Van Doesburg stated that the purpose of art was to imbue man with those positive spiritual qualities that were needed in order to overcome the dominance of the physical and create the conditions for putting an end to wars. In an enthusiastic essay on Wassily Kandinsky he had written about the dialogue between the artist and the viewer, and the role of art as 'the educator of our inner life, the educator of our hearts and minds'. Van Doesburg subsequently adopted the view that the spiritual in man is nurtured specifically by abstract art, which he later described as 'pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships, and abstract lines'. In his response to Piet Mondrian's Composition 10, Van Doesburg linked peace and the spiritual to a non-representational work of art, asserting that 'it produces a most spiritual impression…the impression of repose: the repose of the soul'." Gillian Naylor, The Bauhaus, Studio Vista, 1968 Henry Geldzahler, New York Painting and Sculpture: 1940–1970, Metropolitan Museum of Modern Art, 1969 David Cunningham, 'Asceticism Against Colour', in New Formations 55 (2005) p. 110 M. Hardt/K. Weeks eds., The Jameson Reader (2000) p. 272 Cunningham, p. 114 Aniella Jaffe, in C. G. Jung ed., Man and his Symbols (1978) p. 303 and p. 288-9Sources ^ Compton, Susan (1978). The World Backwards: Russian Futurist Books 1912-16. The British Library. ISBN 0-7141-0396-9. ^ Stangos, Nikos (editor) (1981). Concepts of Modern Art. Thames and Hudson. ISBN 0-500-20186-2. ^ Gooding, Mel (2001). Abstract Art (Movements in Modern Art series). Tate Publishing. ISBN 1-85437-302-1.External links Wikimedia Commons has media related to Abstract art. The term "Abstraction" spoken about at Museum of Modern Art by Nelson Goodman of Grove Art Online American Abstract Artists Non Figurative Art explained Categories: Art movements Modern art Abstract art Painting **** This artwork is large and therefore the shipping chargesare estimates. Buyer may be requested to pay actual shipping charges ifrequested by seller if the charges are higher than the estimate on the auctionto buyer's location. 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Wikipedia on Figurative Art: Figurative art From Wikipedia, the free encyclopedia Ein Meerhafen ("A Seaport"), a figurative landscape by the Austrian artist Johann Anton Eismann (1604–1698), which depicts buildings, people, ships, and other features that can be distinguished individually; by contrast, the abstract landscape below suggests its subject matter without directly representing figures Untitled abstract expressionist landscape by the American artist Jay Meuser (1911–1963) Figurative art, sometimes written as figurativism, describes artwork—particularly paintings and sculptures—that is clearly derived from real object sources, and are therefore by definition representational. "Figurative art" is often defined in contrast to abstract art: Since the arrival of abstract art the term figurative has been used to refer to any form of modern art that retains strong references to the real world.[1] Painting and sculpture can therefore be divided into the categories of figurative, representational and abstract, although, strictly speaking, abstract art is derived (or abstracted) from a figurative or other natural source. However, "abstract" is sometimes used as a synonym for non-representational art and non-objective art, i.e. art which has no derivation from figures or objects. Figurative art is not synonymous with "art that represents the human figure," although human and animal figures are frequent subjects. Contents1 Formal elements2 Evolution3 Examples4 See also5 Notes and referencesFormal elements Nude study (1896) by Kenyon Cox, an advocate of figurative art The formal elements, those aesthetic effects created by design, upon which figurative art is dependent, include line, shape, color, light and dark, mass, volume, texture, and perspective,[2] although it should be pointed out that these elements of design could also play a role in creating other types of imagery -- for instance abstract, or non-representational or non-objective two-dimensional artwork. The difference is that in figurative art these elements are deployed to create an impression or illusion of form and space, and, usually, to create emphasis in the narrative portrayed.Evolution Jacques-Louis David. Oath of the Horatii, 1784 Figurative art is itself based upon a tacit understanding of abstracted shapes: the figure sculpture of Greek antiquity was not naturalistic, for its forms were idealized and geometric.[3] Ernst Gombrich referred to the strictures of this schematic imagery, the adherence to that which was already known, rather than that which is seen, as the "Egyptian method", an allusion to the memory-based clarity of imagery in Egyptian art.[4] Eventually idealization gave way to observation, and a figurative art which balanced ideal geometry with greater realism was seen in Classical sculpture by 480 B.C.[3] The Greeks referred to the reliance on visual observation as mimesis. Until the time of the Impressionists, figurative art was characterized by attempts to reconcile these opposing principles.[4] From the early Renaissance, Mannerism and the Baroque through 18th-, 19th- and 20th-century painting Figurative art has steadily broadened its parameters. Nicolas Poussin (1594-1665), a French painter in the classical style whose work predominantly features clarity, logic, and order, and favors line over color; served as an alternative to the more narrative Baroque style of the 17th century. He was a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. The rise of the Neoclassical art of Jacques-Louis David ultimately engendered the realistic reactions of Gustave Courbet and Édouard Manet leading to the multi-faceted figurative art of the 20th century.Examples Figurative art of the individual human form Ancient Roman woman on a balcony (9–14 CE), Getty Villa Ingres, The Valpinçon Bather (1808), Louvre Paul Cézanne, Bather (1885-1887), Museum of Modern Art Van Gogh, On the Threshold of Eternity (1890), Kröller-Müller Museum Jacek Malczewski, winged lion Chimera (1906), National Museum, Warsaw Matisse, Blue Nude (Souvenir de Biskra) (1907), Baltimore Museum of Art Raymond Duchamp-Villon, Femme assise (1914), plaster Ian Hornak, Marcia Sewing, Variation III (1978), Museum of Fine Arts, Boston Groups of human figures Ancient Egyptian painting Giotto, The Lamentation (c. 1305), Scrovegni Chapel Kamāl ud-Dīn Behzād, The construction of castle Khornaq in al-Hira (c. 1494-1495) El Greco, The Opening of the Fifth Seal (1608-1614), Metropolitan Museum of Art, New York City Rubens, Judgement of Paris (c. 1636), National Gallery, London Poussin, Et in Arcadia ego (Les Bergers d’Arcadie) (late 1630s), Louvre Delacroix, The Barque of Dante (1822), Louvre Courbet, A Burial at Ornans (1849-1850), Musee d'Orsay, Paris Édouard Manet, The Old Musician (1862), National Gallery of Art, Washington, DC Degas, Ballet Rehearsal (1873), Fogg Art Museum, Cambridge, Massachusetts Renoir, Dance at Le Moulin de la Galette (Bal du moulin de la Galette) (1876), Musée d'Orsay Eakins, The Swimming Hole (1884-5), Amon Carter Museum, Fort Worth, Texas Auguste Rodin, The three shades (Les Trois Ombres), for the top of The Gates of Hell (before 1886) Paul Gauguin, The Midday Nap (1894) Picasso Les Demoiselles d'Avignon (1907), Museum of Modern Art Henri Matisse, The Dance I (1909), Museum of Modern Art Albert Gleizes, Les Baigneuses (The Bathers) (1912) John French Sloan, McSorley's Bar (1912), Detroit Institute of Arts Ernst Kirchner, Berlin Street (1913) George Bellows, Dempsey and Firpo (1924), Whitney Museum of American ArtSee also Abstract art Illustration Narrative art Neofigurative Art StuckismNotes and references Tate. "Glossary:Figurative". Retrieved 21 October 2012. Adams, Laurie Schneider, The Methodologies of Art, pages 17-19. Westview Press, 1996, Clark, Kenneth, The Nude: A Study in Ideal Form, pages 31-2. Princeton University Press, 1990. The Gombrich Archive: Press statement on The Story of Art Categories: Figurative art List of 20th-century Russian painters From Wikipedia, the free encyclopedia This is a list of 20th-century Russian painters of the Russian Federation, Soviet Union, and Russian Empire, both ethnic Russians and people of other ethnicities. This list also includes painters who were born in Russia but later emigrated, and those born elsewhere but immigrated to the country and/or worked there for a long time. Artists are arranged in chronological order within the alphabetical tables. The basis for inclusion in this List can serve as the recognition of the artistic community, confirmed by authoritative sources, as well as the presence of article about the artist in Wikipedia. For the full list of Russian artists in Wikipedia, see Category:Russian artists. Wikimedia Commons has media related to 20th century painters from Russia. Contents A B C D E F G H I J K L M N O P Q R S T U V W X Y Z See also ReferencesA T. Afonina. Still life with Pussy-Willows, 1964 Taisia Afonina (1913–1994) Piotr Alberti (1913–1994) Nathan Altman (1879–1970) Evgenia Antipova (1917–2009) Abram Arkhipov (1862–1930) Mariam Aslamazian (1907–2006)B N. Baskakov.Lenin in Kremlin, 1960 Boris Fedorovich Borzin (1922–1990) Léon Bakst (1866–1924) Irina Baldina (1922–2009) Vladimir Baranov-Rossine (1888–1944) Nikolai Baskakov (1918–1993) Evgenia Baykova (1907–1997) Vsevolod Bazhenov (1909–1986) Konstantin Bogaevsky (1872–1943) Nikolay Bogdanov-Belsky (1868–1945) Piotr Belousov (1912–1989) Yuri Belov (born 1929) Veniamin Borisov )born 1935) Victor Borisov-Musatov (1870–1905) Isaak Brodsky (1884–1939) Misha Brusilovsky (born 1931) Varvara Bubnova (1886–1983) Piotr Buchkin (1886–1965) Erik Bulatov (born 1933) David Burliuk (1882–1967)C M. Chagall. Bella with white collar, 1917 Marc Chagall (1887–1985) Vladimir Chekalov (1922–1992) Evgeniy Chuikov (1924–2000) Evgeny Chuprun (1927–2005)D Mai Dantsig (born 1930) Olga Della-Vos-Kardovskaya (1875–1952) Alexander Deyneka (1899–1969) Irina Dobrekova (born 1931) Aleksandr Drevin (1889–1938) Julia Dolgorukova (born 1962)E Aleksandra Ekster (1882–1949) Alexei Eriomin (1919–1998)F R. Frentz. Horsewoman, 1925 Robert Falk (1886–1958) Nicolai Fechin (1881–1955) Pavel Filonov (1883–1941) Rudolf Frentz (1888–1956) Sergei Frolov (1924–1998)G V. Golubev. Horses, 1962 Ivan Godlevsky The fishing port of Gourzouf, Crimea Nikolai Galakhov (born 1928) Aleksandr Gerasimov (1881–1963) Sergey Gerasimov (1885–1964) Irina Getmanskaya (born 1939) Ilya Glazunov (born 1930) Ivan Godlevsky (1908-1998) Aleksandr Golovin (1863–1930) Vasily Golubev (1925–1985) Natalia Goncharova (1881–1962) Vladimir Gorb (1903–1988) Tatiana Gorb (born 1935) Konstantin Gorbatov (1876–1945) Gavriil Gorelov (1880–1966) Elena Gorokhova (born 1933) Igor Grabar (1871–1960) Boris Grigoriev (1886–1939) Aleksei Gritsai (1914–1998) Abram Grushko (1918–1980)H A. Harlamov. A Russian Beauty, Alexei Harlamov (1840–1925)I Boris Ioganson (1893–1973) Serge Ivanoff (1893–1983) Sergey Ivanov (1864–1910)J Alexandre Jacovleff (1887–1938) Alexej von Jawlensky (1864–1941)K B. Korneev. Self-portrait, 1961 M. Kopitseva. At the Bath-house, 1954 Simon Kozhin Ivan Kupala. Fortunetelling on the wreaths. 2009 Wassily Kandinsky (1866–1944) Mikhail Kaneev (1923–1983) Dmitry Kardovsky (1866–1943) Nikolay Kasatkin (1859–1930) Mikhail Khmelko (1919–1975) Yuri Khukhrov (1932–2003) Andrei Kolkoutine (born 1957) Sergei Arksentevich Kolyada (1907-1996) Pyotr Konchalovsky (1876–1956) Maya Kopitseva (1924–2005) Tatiana Kopnina (1921–2009) Pavel Korin (1892–1967) Boris Korneev (1922–1974) Gely Korzhev (1925-2012) Elena Kostenko (born 1926) Nikolai Kostrov (1901–1995) Gevork Kotiantz (1906–1996) Mikhail Kozell (1911–1993) Engels Kozlov (1926–2007) Simon Kozhin (born 1979) Vladimir Krantz (1913–2003) Yaroslav Krestovsky (1925–2003) Nikolay Krymov (1884–1958) Arkhip Kuindzhi (1842–1910) Alexander Kuprin (1880–1960) Boris Kustodiev (1878–1927) Nikolai Kuznetsov (1850–1930) Nikolai Kuznetsov (1879–1970) Pavel Kuznetsov (1878–1968)L P. Litvinsky. Spring in the city, 1961 Alexander Laktionov (1910–1972) Valeria Larina (1926–2008) Mikhail Larionov (1881–1964) Boris Lavrenko (1920–2000) Ivan Lavsky (1917–1977) Vladimir Lebedev (1891–1967) Felix Lembersky (1913–1970) Leningrad Secondary Art School Aristarkh Lentulov (1882–1943) Piotr Litvinsky (1927–2009) Oleg Lomakin (1924–2010) Alexander Lubimov (1879–1955) Boris Lukoshkov (1922–1989) Vladimir Lisunov (1940–2000)M K. Malevich. Woodcutter, 1913 Dmitry Maevsky (1917–1992) Aleksandr Makovsky (1869–1924) Konstantin Makovsky (1839–1915) Vladimir Makovsky (1846–1920) Kasimir Malevich (1879–1935) Gavriil Malish (1907–1998) Filipp Malyavin (1869–1940) Sergey Malyutin (1859–1937) Stepan Mamchich (1924–1974) Ilya Mashkov (1881–1944) Evsey Moiseenko (1916–1988) Valentina Monakhova (born 1932) Alexei Mozhaev (1918–1994) Nikolai Mukho (1913–1986)N M. Natarevich Youth, 1957 Dmitriy Nalbandyan (1906–1993) Anatoliy Nasedkin (1924–1994) Mikhail Natarevich (1907–1979) Alexander Naumov (born 1935) Tatyana Nazarenko (born 1944) Piotr Nazarov (1921–1988) Vera Nazina (born 1931) Anatoli Nenartovich (1915–1988) Yuri Neprintsev (1909–1996) Mikhail Nesterov (1862–1942) Samuil Nevelshtein (1903–1983)O S. Osipov Cornflowers, 1976 Dmitry Oboznenko (1930–2002) Lev Orekhov (1913–1992) Sergei Osipov (1915–1985) Alexander Osmerkin (1892–1953) Victor Otiev (1935–2000) Nikolai Ovchinnikov (1918–2004) Vladimir Ovchinnikov (1911–1978)P N. Pozdneev Spring day, 1959 Leonid Pasternak (1862–1945) Kuzma Petrov-Vodkin Arkady Plastov (1893–1972) Ivan Pohitonov (1850–1923) Vasily Polenov (1844–1927) Serge Poliakoff (1906–1969) Lyubov Popova (1889–1924) Nikolai Pozdneev (1930–1978) Evgeny Pozdnekov (1923–1991) Alexander Pushnin (1921–1991)R L. Russov Portrait of N. Orlova, 1956 Lubov Rabinovich (1907–2002) Ilya Repin (1844–1930) Fyodor Reshetnikov (1906–1988) Nicholas Roerich (1874–1947) Franz Roubaud (1856–1928) Olga Rozanova (1886–1918) Maria Rudnitskaya (1916–1983) Galina Rumiantseva (1927–2004) Kapitolina Rumiantseva (1925–2002) Lev Russov (1926–1988) Andrei Ryabushkin (1861–1904) Arcady Rylov (1870–1939)S A. Samokhvalov. Cafe Gurzuf. 1956 Vladimir Sakson (1927–1988) Tahir Salahov (born 1928) Alexander Samokhvalov (1894–1971) Martiros Saryan (1880–1972) Ivan Savenko (1924–1987) Leningrad Union of Artists Gleb Savinov (1915–2000) Vladimir Seleznev (1928–1991) Alexander Semionov (1922–1984) Arseny Semionov (1911–1992) Zinaida Serebriakova (1884-1967) Yuri Shablikin (born 1932) Boris Shamanov (1931–2009) Alexander Shilov (born 1943) Alexander Shmidt (1911–1987) Oleksii Shovkunenko (1884–1974) Nadezhda Shteinmiller (1915–1991) Elena Skuin (1908–1986) Galina Smirnova (born 1928) Nikolai Nikolaevich Smoliakov (1937-1999) Alexander Sokolov (1918–1973) Alexander Stolbov (born 1929)T V. Teterin Quince, 1966 I. Tsvaygenbaum Section of portrait Dr. Ilizarov, 1988 Alexander Tatarenko (1925–2000) German Tatarinov (1925–2006) Victor Teterin (1920–1991) Nikolai Timkov (1912–1993) Leonid Tkachenko (born 1927) Mikhail Tkachev (born 1912) Mikhail Trufanov (1921–1988) Israel Tsvaygenbaum (born 1961) Yuri Tulin (1921–1986) Vitaly Tulenev (1937–1998)U Nadezhda Udaltsova (1886–1961)V A. Vasiliev. In Gurzuf, 1964 S. Zakharov Still life with pomegranates, 1980 Ivan Varichev (born 1924) Anatoli Vasiliev (1917–1994) Piotr Vasiliev (1909–1989) Valery Vatenin (1933–1977) Nina Veselova (1922–1960) Igor Veselkin (1915–1997) Boris Vipper (1888–1967) Rostislav Vovkushevsky (1917–2000)Y Lazar Yazgur (1928–2000) Vasily Yefanov (1900–1978) Konstantin Yuon (1875–1958)Z Vecheslav Zagonek (1919–1994) Ruben Zakharian (1901–1993) Sergei Zakharov (1900–1993) Maria Zubreeva (1900–1991)Aquatint From Wikipedia, the free encyclopedia This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (July 2010) The Sleep of Reason Produces Monsters, Francisco Goya (1799) Part of a series on the History of printing Woodblock printing200 CE Movable type1040 Printing press1377 Etchingc. 1515 Mezzotint1642 Aquatint1772 Lithography1796 Chromolithography1837 Rotary press1843 Hectograph1869 Offset printing1875 Hot metal typesetting1884 Mimeograph1886 Photostat and Rectigraph1907 Screen printing1910 Spirit duplicator1923 Xerography1938 Phototypesetting1949 Inkjet printing1951 Dye-sublimation1957 Dot matrix printer1968 Laser printing1969 Thermal printingc. 1972 3D printing1984 Digital press1993 vte Aquatint is an intaglio printmaking technique, a variant of etching. In intaglio printmaking, the artist makes marks on the matrix (in the case of aquatint, a copper or zinc plate) that are capable of holding ink. The inked plate is passed through a printing press together with a sheet of paper, resulting in a transfer of the ink to the paper. This can be repeated a number of times, depending on the particular technique. Like etching, aquatint uses the application of acid to make the marks in the metal plate. Where the engraving technique uses a needle to make lines that print in black (or whatever color ink is used), aquatint uses powdered rosin to create a tonal effect. The rosin is acid resistant and typically adhered to the plate by controlled heating. The tonal variation is controlled by the level of acid exposure over large areas, and thus the image is shaped by large sections at a time. Another tonal technique, mezzotint, begins with a plate surface that is evenly indented so that it will carry a fairly dark tone of ink. The mezzotint plate is then smoothed and polished to make areas carry less ink and thus print a lighter shade. Alternatively, beginning with a smooth plate, areas are roughened to make them darker. Occasionally these two techniques are combined. Contents1 History2 Technique3 Famous examples4 See also5 Further reading6 References7 External linksHistory The painter and printmaker Jan van de Velde invented the aquatint technique in Amsterdam, around 1650.[1] The cartographer Peter Perez Burdett later introduced his 'secret' aquatint technique to England in the 1770s.[2]Technique aquatint box, used to apply resin powder on the plate. An aquatint requires a metal plate, an acid, and something to resist the acid. Traditionally copper or zinc plates were used. The artist applies a ground that will resist acid. Ground is applied by either dissolving powdered resin in spirits, applying the powder directly to the surface of the plate, or by using a liquid acrylic resist. In all forms of etching the acid resist is commonly referred to as "the ground." An aquatint box is used to apply resin powder. The powder is at the bottom of the box, a crank or a bellows is used to blow the powder up into the air of the box. A window allows engraver to see density of flowing powder and to place his plate in the box using a drawer. When the powder covers the plate, it can be extracted from the box for the next operations. The plate is then heated; if the plate is covered with powder, the resin melts forming a fine and even coat; if it is in spirits, the spirits evaporate and the result is essentially the same. Now the plate is dipped in acid, producing an even and fine level of corrosion (the "bite") sufficient to hold ink. At this point, the plate is said to carry about a 50% halftone. This means that, were the plate printed with no further biting, the paper would display a gray color more or less directly in between white (no ink) and black (full ink). Zinc plate with powder resin. At some point the artist will then etch an outline of any aspects of the drawing s/he wishes to establish with line; this provides the basis and guide for the later tone work. S/he may also have applied (at the very start, before any biting occurs) an acid-resistant "stop out" (also called an asphaltum or hard ground) if s/he intends to keep any areas totally white and free of ink, such as highlights. The artist then begins immersing the plate in the acid bath, progressively stopping out (protecting from acid) any areas that have achieved the designed tonality. These tones, combined with the limited line elements, give aquatints a distinctive, watery look. Also, aquatints, like mezzotints, provide ease in creating large areas of tone without laborious cross-hatching; but aquatint plates, it is noted, are generally more durable than mezzotint plates. The first etch should be for a short period (30 seconds to 1 minute, with a wide variation depending on how light the lightest tones are meant to be). A test piece may be made with etching times noted, as the strength of the etchant will vary. More than thirty minutes should produce a very dark area. Etching for many hours (up to 24) will be as dark as etching for one hour, but the deep etch would produce raised ink on the paper. Contemporary printmakers often use spraypaint instead of a powder, particularly when using the technique known as sugar-lift. To produce a printing surface using sugar-lift, the artist makes a solution of India ink and sugar by melting sugar into heated ink. This mixture is then applied to a prepared plate with a brush, allowing for a bold expression not possible with the most etching techniques. When the ink/sugar mixture is dry the plate is coated with asphaltum (liquid ground); the plate is then submerged in warm water which dissolves the sugar so that the image "lifts off" the plate. The exposed areas are then aquatinted to hold ink and the plate is ready to be printed from.Famous examples Aquatint by Goya, from the Cycle "Los Caprichos": Can't Anyone Untie Us? Francisco Goya famously took great advantage of aquatint printmaking, in his Los Caprichos series (1799); Los Desastres de la Guerra (1810–19); La Tauromaquia (1816); and Los disparates (ca. 1816–23). Master engraver Robert Havell used aquatint for John James Audubon's Birds of America (1826–38). David Hockney, known for his many paintings of the Los Angeles lifestyle in the 60's, has created a number of aquatints and etchings used with color in his "The Blue Guitar"[3] series of prints. La Belle Assemblée, a British women's magazine published from 1806 to 1837 had many aquatint colored plates.See also Jean-Baptiste Le PrinceFurther reading Prideaux, S. T. Aquatint engraving; a chapter in the history of book illustration (London : Duckworth & Co., 1909).References Hind AM (1963) A History of Engraving and Etching. Dover Publications, New York. Ann V. Gunn, "Sandby, Greville and Burdett, and the 'Secret' of Aquatint," Print Quarterly, XXIX, no. 2, 2012, pp. 178-180. "David Hockney : Graphics / Blue Guitar". Hockneypictures.com. Retrieved 12 February 2012. "Aquatint". crownpoint.com. Archived from the original on 4 November 2009. Retrieved 17 October 2009. "The Printed Image in the West: Aquatint". metmuseum.org. Retrieved 17 October 2009. "Aquatint (printmaking) – Britannica Online Encyclopedia". britannica.com. Retrieved 17 October 2009. "Aquatint (printmaking) – Hans Koernig Painter and Printmaker". hans-koernig.de. Retrieved 3 November 2009.External links Wikimedia Commons has media related to Aquatint prints. Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on aquatint Categories: Etching Printmaking

  • Condition: please inspect photos carefully; print is framed in metal frame with plexiglass; shipping can be with or without frame in a tube if desired to save money on shipping
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