Gander also replicated the linocuts in black Sharpie, and the drawings are included in a new catalogue.
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The amount of screen-prints, linocuts, stencils, and lithographs that flooded these cities during the protests is staggering.
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The dynamic linocuts combine Ms. Ganesh's talents in fine art and comics by riffing on the story without being slavish.
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When the artist is not making prints to be hung indoors, or linocuts and woodcuts, he takes to the streets to spread his visual message.
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Illustrating these texts were artworks — mostly linocuts and woodcuts — by the likes of Marc Chagall, Vasily Kandinsky, Paul Klee, Oscar Kokoschka, Franz Marc, and László Moholy-Nagy.
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The Modern also owns a portfolio of seven geometric linocuts with watercolor, gouache and oil additions, as well as other works on paper from this period (1917-19).
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In the first vitrine, five covers of Der Sturm — the German art magazine of Herwarth Walden — are based on linocuts so delicately textured they evoke woodblock, that most German print form.
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Over the years, their collaboration grew, and every spring, they would stage a well-attended event there to showcase Guinness's works, distinctive, whimsical drawings and linocuts of flowers, people, dogs and objects.
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The afternoon will also include a sunprint workshop led by female collective Ni Santas, an artpunk workshop led by artists Victor Rosas and Martha Carillo that fuses fashion and linocuts, and food from Sus Arepas.
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Hailing from "the new Berlin" of Leipzig, Lubok produces a series of graphic books of linocuts, the most recent of which features monochrome works by 23 students of École nationale supérieure des beaux-arts de Paris.
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It greets you at the beginning of the exhibition, opposite Olga Rozanova's splendid and unfamiliar "War," a 21920 portfolio of linocuts that blends Cubism, Futurism and traditional Russian motifs into vibrant fields of energy without disguising their subject.
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KARA WALKER: VIRGINIA'S LYNCH MOB AND OTHER WORKS New Jersey celebrates its acquisition of "Virginia's Lynch Mob," Ms. Walker's cutting 22-foot-long silhouette, with a show of two decades' worth of her unflinching lithographs, linocuts and photographs. Sept. 227-Jan.
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Although there are works from well-known Canadians like the visual artist Althea Thauberger, the main attraction may be the Picasso gallery where there will be more than 2500 of his linocuts and nearly two dozen of his ceramic pieces.
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His first antiwar book, it has nine linocuts representing hundreds of years of showdowns, and the current project is in a way an extension of this initial work, his illustrations in pen and ink and on woodcuts extending this history of bloodshed.
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The Dennos Museum has one of the largest collections of Inuit art in the country (1,600 works), with captivating stencils, stonecuts and linocuts by artists like Annie Pitsiulak from Pangnirtung and Cee Pootoogook from Cape Dorset, both in Nunuvat in northern Canada.
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Toward the end of the show are three linocuts based on a wonderful painting at its beginning — a 2016 canvas dominated by an expanse of cerulean blue bordered by the artist's lovely stretched-face scheme, more than 30 years old and inspired by Picasso.
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Small format works, like materially inscribed and manipulated picture postcards, photographs, linocuts and woodcuts, small run graphic art magazines could not only be displayed in pop up shows at short notice, but could also be packed up at a moment's notice to avoid censorship and imprisonment.
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An area of the museum's permanent collection is the Picasso collection, featuring ceramics and linocuts by Pablo Picasso. In 2012 Ellen Remai donated 405 Picasso linocuts to the museum. Valued at C$20 million in 2012, the linocuts collection is the world's largest collection of Picasso linocuts. In addition to the linocuts, the collection features 23 Picasso ceramics, donated to the museum by Frederick Mulder in 2014.
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Firmin, having retired from TV production, produced engravings and linocuts.
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Issued dozen or so of his own publications linking series of linocuts with epigrams, prayers, poetry and prose. Made many cycles of linocuts and a cycle of paintings of 366 angels entitled ″Guardians of time″.
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His woodcuts and linocuts dating back from the 1930s are much sought after.
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Veranian created a key series of 21 large scale linocuts in 1989, influenced by Federico García Lorca's poems. Other prints include the Composition and Dreams (1989) series, consisting of 13 linocuts. This series of linocuts was displayed for the first time in September 1990 at MAMY, as part of a group exhibition. The Migration (tales of the Aegean Sea, sheet 02 and 03, the Pushkin State Museum of Fine Arts, Moscow), a series of 21 etchings, was created between 1989 and 1991.
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In 1911 “linoleum art” was first displayed in New York City by the Czech émigré Vojtěch Preissig. In his publications on linocuts (1926-29) the respected American printmaker, Pedro Joseph de Lemos, simplified the methods for art schools and introduced new techniques for color linocuts, including the printing of the key block first. The first large-scale colour linocuts made by an American artist were created ca. 1943–45 by Walter Inglis Anderson, and exhibited at the Brooklyn Museum in 1949.
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Since 1981 Stepan Veranian has made etchings, aquatints and linocuts. Veranian fully embraced linocuts, during the period spent working in the Graphics Department, National Center of Aesthetics of Armenia. The National Gallery of ArmeniaNational Gallery of ArmeniaNational Gallery of Armenia and MAMY have bought his prints. The thirteen Blue Prints of 1985 were made with linocut and painting.
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Sybil Andrews (19 April 1898 - 21 December 1992) was an English-Canadian artist who specialised in printmaking and is best known for her reductionist linocuts.
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This passion resulted in a body of oil paintings and linocuts known as the Journey Series. This collection is currently held by La Trobe University.
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In 1925 she was employed by Iain Macnab as the first secretary of The Grosvenor School of Modern Art, where she also attended Claude Flight's linocutting classes. Around 1926 she began producing linocuts and one of her earliest prints Limehouse is in the British Museum Collection. Between 1928 and 1938 she exhibited linocuts extensively through shows organised by Flight. In 1922, Andrews and Power moved to London.
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Henry Williamson Society He is also known to have illustrated The Specialist by Charles SaleNorfolk Library & Information Service and Moscow Has a Plan by M. Ilin (Jonathan Cape, 1931).British Library Catalogue Kermode wrote on the subject of colour linocuts applied to advertising and made a number of independent linocuts in monochrome from about 1920, in small editions. He published Drawing on Scraperboard for Beginners in 1938.
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Woods also created a series of colour linocuts based on The Rubáiyát of Omar Khayyám; using rich colour and patterns to create the appearance of Persian miniatures.
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Alun Leach-Jones (1937 – 24 December 2017), was a British-born Australian artist known for his range of work covering painting, drawing, sculpture, linocuts, screenprints and etchings.
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Edith Mary Lawrence (22 March 1890-2 October 1973) was a British artist known for her landscape and portrait paintings, her colour linocuts and her textile designs.
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She created folders and maps for Schiphol, the airport near Amsterdam, in a modernist style using gold, red and blue. Besides, she made paintings, portraits, drawings, woodcuts and linocuts.
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Palle Louis Nielsen 8 August 1920 – is a Danish illustrator and graphic artist. Considered to be one of the masters of his times, his works include drawings, watercolours, woodcuts and linocuts.
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The artist liked to experiment especially with the linocut, a great favorite among the German Expressionists and a medium that they imbued with new life. After contributing to Der Sturm journal in the early 1920s he began to work with this printing technique again, in particular in 1936, and produced the 7-series Gastgeschenk in Schwarz-Weiss ("Hospitality gift in black-and-white"), a self-contained series of 210 linocuts - some of them almost miniatures - presenting a fusion of his hitherto art and form vocabulary. The subject matter of his linocuts follows the repertoire of his colored works on paper and sketches as well as paintings, and occasionally they explore paths for developing entirely new genres. Nebel produced linocuts continually alongside his other work.
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It was here that O'Connell first experimented with the concrete garden sculpture, the linocuts, and the textiles that were to make his name. The house was destroyed in a fire in 1947.
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His linocuts are known for their strict elegance and conciseness. In the late 1960s his linocuts were highly praised and were shown at the All-Union (USSR) art exhibition in Moscow in 1967. By the 1970s Lukoshkov preferred to work with a fine lace mesh of light, casual, or a measured rhythm of light lines in his paintings. In 1971 he was elected for the first time as a Chairman of the Arkhangelsk Union of Artists (1971–1975, 1979–1983).
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In 1924 the gallery displayed the student work of Henry Moore and Barbara Hepworth, and in 1929, the first exhibition of British linocuts featuring work by Cyril Edward Power, Sybil Andrews, and Claude Flight.
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Bahr created sketches, oil and watercolor paintings, lithographs, sculptures, book illustrations, collages and constructions with found objects. Woodcuts, etchings, monoprints and linocuts were also methods she explored. She worked with pastels and inks. She exhibited extensively.
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William A. Kermode MC (1895–1959) was an Australian artist. He illustrated Henry Williamson's The Patriot's Progress, published in 1930. The illustrations were linocuts, an unusual medium. William Kermode was born in Hobart, Tasmania in 1895.
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He was right-handed but learned to use his left hand while recuperating. Back in Australia, he established his reputation by exhibiting more paintings. In 1923 he exhibited a series of linocuts, being the first to make and exhibit linocuts in Australia. His first mural design failed to win a competition in 1921. His first major mural was for the Menzies Hotel in Melbourne, in 1927. In 1927 he completed murals at the Melbourne Town Hall. The State Library of Victoria accepted his mural Peace After Victory in 1928.
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Volume 140. Page 16. The Grosvenor School was a progressive art school, and the championing of wood engraving and linocuts fitted with its democratic approach to the arts.Jeanne Cannizzo, A Study in Contrast: Sybil Andrews and Gwenda Morgan.
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In 1919 Albee returned to art and created one of her earliest linocuts “The Bath” (1919) and “In the Studio, Percy Albee” (1922). Additionally, the print “A Kitchen Window” was created as well. Besides large-scale prints, Albee also used linocuts to craft Christmas cards titled “Greetings from 102 George Street” (1921.) In the 1920s, Albee's husband began focusing on arts involving linocuts, during which Albee was allowed to further experiment in her own lithography. Because of her husband's interest, Albee was able to showcase her work in block-printing without seemingly interfering with her husband's own artist career. In 1923 Albee submitted her works “In the Studio,” “The Bath”, and “A Kitchen Window” to the Providence Art Club's Nineteenth Annual Exhibition of Little Pictures (All of her works were on sale for ten dollars.) Additionally, Albee and her husband experimented in printing colored linoleum blocks on silk, which gained them recognition from the Providence Journal in 1926.
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This collection includes a number of early water-colours, executed while the artist was still living in Suffolk. Although Andrews had worked in other mediums – such as etchings, paintings, and monotypes – her main passion and interest remained linocuts from the late 1920s on.
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Anne Desmet (born 14 June 1964) is a British artist who specializes in wood engravings, linocuts and mixed media collages. She has had three major museum retrospectives, received over 30 international awards, and her work is in museum collections and publications worldwide.
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After the war he studied at the Academy of Fine Arts in Ljubljana under Gojmir Anton Kos and Božidar Jakac. He graduated in 1948. He is known for his paintings, linocuts and other prints, illustrations and murals. He died in Škofja Loka in 1989.
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Dolmen published his first book of engravings, Soul Cages, and on returning to Melbourne he completed linocuts to illustrate the Dolmen press reprint of Riders to the Sea.Thomson, F and Zimmer, J, Tate Adams - MacMillan Mini Art Series no. 15, 2010, MacMillan Art Publishing, Melbourne.
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60 he was dispatched to a more permanent, larger compound, the camp of Gurs. As "Grigore", Vida illustrated the prisoners' political magazine with images of the home country, and produced linocuts of his internment; these were paid by other inmates with extra rations of food.
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Reflections of an Artist Hnizdovsky printed all his woodcuts and linocuts himself at his home studio. Woodcuts and linocuts were printed on washi, which is erroneously translated as "rice paper"In fact, rice paper is made from paper mulberry, also known as broussonetia papyrifera. Please see the following link for more information on the production of this beautiful handmade paper, which is likened to raw silk because of its texture and the tiny specks of raw plant fibers embedded in the paper. Hnizdovsky's prints frequently depict flora and fauna, and there are several reasons for him largely shifting his focus from the human form.
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Shaw's paintings are a cool mixture of color and structure. His woodcuts and linocuts are black and white. Shaw's work is in the collections of the Museum of Modern Art, the Brooklyn Museum, the New York Public Library and the Zimmerli Art Museum at Rutgers University.
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John Ndevasia Muafangejo (born 5 October 1943 in Etunda lo Nghadi, Angola; died 27 November 1987 in Katutura Township, Windhoek) was a Namibian artist who became internationally known as a maker of woodcut prints. He created linocuts, woodcuts and etchings. Chestar Njadu was also his son.
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Cooch and his wife Mary had two daughters Pat and Angela. Cooch settled in Wellington and gained employment as a government architect. One of the projects he worked on was Government House in Wellington. In his spare time, Cooch created prints working in woodcuts and linocuts.
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For that reason, Botello traveled to Paris, France and learned printmaking techniques. He became a master in printmaking and graphic design. Some of his best printmaking works are his linocuts, lithographs and serigraphs. By the beginning of the 1980s, Botello started a double artistic career in painting and sculpture.
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From 1930 he was a member of the Art Workers Guild, and made etchings, linocuts and lacquer work; he also published a book of poetry, Verses Gloomy and Gay in 1933. Sir Geoffrey de Havilland describes him as a "man of great charm and humour, always interesting in discussion".
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Waldrum and Heese also produced videos showing artists at work, including Waldrum, Larry Bell, Alyce Frank, and Melissa Zink. In the 1980s, he also engaged printmaker Robert Blanchard of Albuquerque for assistance in creating a series of aquatint etchings and linocuts based on his abstract depictions of southwestern architecture.
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"She captured the energy of the modern age." As she grew older "the vitality of the natural world" became fundamental. "Air Travel 3: The pineapple plantation" is an example of Black's lino-prints. The making of linocuts allowed Black to abstract her subjects by eliminating detail and emphasising structure.
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However it is his work as a linocut printmaker where his reputation now rests. Inspired by Claude Flight Flight, Claude. ‘Lino-Cuts: A Handbook of Linoleum-Cut Colour Printing’ John Lane, The Bodley Head, London 1927. he produced most of his distinctive linocuts over a four- year period (1930–1934).
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Her work has been exhibited in Regina, Buffalo, New York and Seattle. Karli Jessup graduated from the University of Regina with a Bachelor of Fine Arts in 2011. She uses screenprinting, linocuts, and letterpress. She often incorporates text in her work, which may be derived from political slogans and advertisements.
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All the designs were cut by Albee herself. The tapestries were exhibited at the Providence Art Club in 1927 under Grace Albee's name (not Percy Albee.). In 1927 Albee was recognized by the Providence Art Club for her twelve linocuts. She was praised for her expert technique and her handling in relief cutting.
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Held also designed the cover for Pulitzer Prize-winning novel, So Big. In addition to his archetypical flapper illustrations, Held also made linocuts and drew cartoons in a 19th-century woodcut style, as he had started getting bored with the flapper girls. During this time period, his art often depicted the "Gay Nineties".
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Returning to London in 1923 he became a professional artist. His work featured in the first-ever exhibition of linocuts, organized by Claude Flight at the Redfern Gallery in 1929.Anon 2 (n.d) Initial success however withered in the 1930s, when his marriage broke up, and from then on he lived in financial straits.
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In London he lived for most of the rest of his life in the Kilburn and Willesden areas, continuing to produce paintings, drawings and linocuts. He supported himself by teaching and painting stage-decor and from 1948 to 1962 he was art-editor of the Antique Dealer and Collector's Guide, (founded by his brother Adrian).
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Béla Apáti Abkarovics (born 1888, Érmihályfalva, Austro-Hungarian Empire - died 1957, Szentendre, Hungary) was a Hungarian painter and graphic artist. His art is based upon the Nagybánya traditions of the unity of man and nature. He incorporated oil, watercolour and graphics into his art. His contribution in the field of graphic arts include sketches, linocuts, and monotypes.
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Later, in 1957, he entered the School of Engraving and was trained to do woodcuts and linocuts by Lívio Abramo. Amaral's first solo exhibition came in 1958 when he showed a group of engravings at the São Paulo Museum of Modern Art.Antonio Henrique Amaral, Edward J Sullivan, Frederico Morais, Maria Alice Milliet. Antonio Henrique Amaral: obra em processo.
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Her works were part of another exhibit in spring 2013, "The Cutting Edge of Modernity: An Exhibition of Grosvenor School Linocuts" at the Osborne Samuel Gallery in London;Richard Moss, "The Cutting Edge of Modernity," Culture24 (10 April 2013) a similarly-named July–September 2019 exhibition at the Dulwich Picture Gallery also showed large quantities of her work.
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Ethel Louise Spowers (11 July 1890 – 5 May 1947) was an Australian artist associated with the Grosvenor School of Modern Art in London. She was especially known for her linocuts, which are included in the collections of major Australian and British Art Galleries. She was also a founder of the Contemporary Art Society, promoting modern art in Australia.
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Previously, architects employed drawings to illustrate and generate design proposals. While conceptual sketches are still widely used by architects, computer technology has now become the industry standard. However, design may include the use of photos, collages, prints, linocuts, 3D scanning technology and other media in design production. Increasingly, computer software such as BIM is shaping how architects work.
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Drewry produced her own exhibition catalogues and posters in letterpress, and also created her own Christmas cards, which were usually multi-coloured linocuts, showing the influence of Joan Hassall. She also produced hand woven cloth on a floor loom, and made textile items such as appliqué cushions, and produced smaller craft items sold in her annual Sales of Work.
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Karl L. Kistner (b. 1926) — A painter, graphic artist and writer, Kistner has had many exhibitions throughout Germany. A well known work of his is Die Bibel in 61 Linolschnitten (“The Bible in 61 Linocuts”). Among other things that he has published are Autoleien, Jeden Tag ein Lächeln (“Every Day a Smile”) and Liebesbriefe (“Love Letters”).
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In the 1960s, there was growing interest among Soviet artists in linocut. Linocut is characterised by its brevity and dynamism, speed of execution, and decorative effect. G.A. Ryabokon, V.S. Vezhlivtsev and Lukoshkov, all Arkhangelsk artists, began to work in linocut. The subject of the earlier linocuts by Lukoshkov was associated with his hometown, Shenkursk, and neighborhoods.
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Alba's earliest interest was in printmaking – linocuts, lithography, and etching. Painting as her primary focus started while attending University of Michigan as a Psychology major. Exploring abstraction and color fields her work then moved to symbolism; a trend that continued for decades. Later on, Alba shifted to landscapes, with increasing focus on the sky as subject.
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Andrews regularly exhibited her work at the “Exhibitions of British Linocuts” – an annual exhibition organized by Claude Flight at the Redfern Gallery in London between 1929-1937. Flight arranged for these exhibitions to tour Britain and travel to other countries as far away as the United States, China, and Australia. By 1945, the works of the Grosvenor School artists had lost their appeal and came to be considered “outdated” and “old-fashioned.” For almost four decades, the linocuts of Andrews and her contemporaries had been virtually forgotten. It wasn’t until the 1970s-80s when Andrews was rediscovered in the art world, now being recognized as one of the Grosvenor School’s best artists. Her print Speedway sold at Sotheby’s auction for £85,000.00 – the most expensive print sold by a member of the Grosvenor School.
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He had a show of woodcuts at the Artists Studio in NYC. In 1974 he illustrated The Epic of Gilgamesh in linocuts and woodcuts for the Limited Editions Club. He designed a set of stained glass windows depicting the Twelve Tribes of Israel for Agudas Achim Synagogue in Bexley, Ohio.Murray Polner, American Jewish Biographies, New York: Facts on File, 1982, , p. 8.
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Chittraprosad’s most creative years began in the 1930s. He satirized and sharply criticized the feudal and colonial systems in quickly drawn but masterful pen and ink sketches. The artist/reformer was also proficient at creating linocuts and woodcuts with obvious propagandistic intent. Since these cheaply made prints were created for the masses rather than the art gallery, they were seldom signed or numbered.
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Eleven of these linocuts showcased the landscape and fishing industry of Rockport, Massachusetts. The twelfth print was a portrait of her husband Percy Albee. On March 1928 Albee left for Paris, France with her family, printing before she left “Old Providence” and “To Each His Own.” While abroad, Albee further developed her interest in depicting urban and rural landscapes in her engravings.
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Since 1958 she was employed as a lecturer at her Academy. She became winner of many awards. Irena Stankiewicz deals mainly with woodcuts and linocuts. As the most important work of Irena Stankiewicz is considered the woodcut “Matka Boska Akowska” (The Virgin Mary of the Home Army soldiers) which earned 1981 the first prize in London art competition "Home Army in art".
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McClure grew up in Kirkland, Washington. She moved to Olympia in 1986 to attend The Evergreen State College where she studied natural history and received B.S. and B.A. degrees in 1991. She would take walks in the forest, making up songs and singing them loudly; sometimes performing them at house shows. She rented a studio near K Records and experimented with linocuts.
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Following her graduation Aitken was also a tutor at the School of Art, working alongside Florence Akins, Bill Sutton, and Francis Shurrock. Aitken specialised in sculpture, although her work also includes jewellery, metalwork, and linocuts. Her sculptures often took animals as their subject. The Museum of New Zealand Te Papa Tongarewa holds examples of her artworks including a jewel casket.
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Black created most of her linocuts in the 1930s. She worked mainly in water-colours in the late 1930s and then returned to working in oils. She settled in Adelaide, South Australia, in the late 1930s with her ageing mother, and painted many landscapes of the Adelaide hills and the south coast. Black's lino-prints were integral to her arts practice.
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In 1920, Jozef Peeters presents his first abstract painting. He is considered to be, next to Karel Maes, one of the first Belgian abstract painters. The next year he published his first album with six linocuts. Jozef Peeters also participated in several international art exhibitions among which the International exhibition in Geneva (1921) and the First exhibition of modern art in Bucharest (1924).
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In 1981 he was a delegate to the fifth All-Russian Congress of the Union of Artists, Moscow. In 1983 he was a delegate to the sixth All-Russia Union of Artists, Moscow. Along with linocuts Lukoshkov worked in oil painting, in the traditional realistic style. He created landscapes of villages, fields, sights of the Vaga River, and neighborhoods of Shenkursk.
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Kermode studied at Iain Macnab’s Grosvenor School of Modern Art, probably between 1925–28, and is believed to have shown linocuts at the first British exhibition of the medium at the Redfern Gallery, London, in 1929.National Art Library Reading Room (Victoria & Albert Museum) He designed posters for the London Underground in 1924 including "Leave this and Move to Edgware" printed by the Westminster Press. In 1928 Kermode was introduced to Henry Williamson by the well-known literary critic Sir John (Jack) Squire. Kermode had made linocuts from his war experiences and wanted someone to write short caption- like paragraphs. The result was the highly acclaimed Patriot’s Progress, today considered as an important contribution to the literature of World War I. Kermode also provided a cover design for a cheap edition of Tarka the Otter, published in 1929.
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His studies were interrupted by the First World War (1914-1918). He served as a soldier in Serbia and was wounded early on. He was employed, from 1915, as a draftsman in the War Ministry. He produced his first linocuts in 1915 and his first woodcuts in 1916. He returned to art school in 1918, now studying under Philipp Franck, and obtaining his degree in 1919.
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She has a studio at the Strathnairn Arts Association in Holt, ACT. Like many female artists who have experienced motherhood, Bot felt isolation when the children were young. Her choice of linocuts facilitated working on a kitchen table, and she expanded her skills and scope of work during this domestic period. She also loves poetry and draws on it for much of her work.
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This was a commune of artists and Fried continued teaching and was active in organizing exhibitions connected with the Westbeth Graphics Workshops. He was also particularly successful as a portrait painter, while at the same producing etchings, linocuts and woodcuts, which in some cases were used as book illustrations.These included the work of the poet Michael Blumenthal, whose Sympathetic Magic, published in 1980 was illustrated by Fried.
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Further classes followed in 1931, during which Spowers absorbed modernist ideas of rhythmic design and composition from the principal of Grosvenor School Iain Macnab. In the 1930s her linocuts attracted critical attention for their bold, simplified forms, rhythmic sense of movement, distinctive use of colour and humorous observation of everyday life, particularly the world of children. They were regularly shown at The Redfern Gallery, London.
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Year Book of the Arts in New Zealand p.104] His colour linocuts exhibited a strong linear image, and his skills as a draughtsman allowed him to develop a sculptural element to his work. Woods frequently employed the technique of simplifying his subject matter by accentuating physical characteristics and omitting others entirely. He had an ability to capture form and light through simple line forms and use of unbroken colour.
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The medium opened up new and diverse avenues of expression. Again and again he returned to this technique and experimented with different kinds of linoleum and various layers of colors. In this way he achieved a multilayer print very similar to the effect he strived for in his other pictures, that is, to achieve an airy spatial effect. He included cuttings from his linocuts in his papiers collés and collages.
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Over the course of his career, Brunovsky experimented with various graphic techniques and was highly influenced in his subject matter by poetry and literature, as well, of course, as by other artists. While at school he used the techniques of woodcuts and linocuts. Soon after, however, he began experimenting with "scraper" and chalk lithography. Etching were the characteristic mode of his graphic art work during the mid-1960s.
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Gladys Anderson was known for woodcuts and linocuts, works include The Passing Stream (c. 1929). Anderson was exhibited with The Group, an informal art association from Christchurch, New Zealand, formed to provide a freer alternative to the Canterbury Society of Arts. She contributed works to exhibitions in: 1933 and 1934. She also exhibited with the Canterbury Society of Arts, New Zealand Academy of Fine Arts, and Otago Art Society.
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Randall Enos (born January 30, 1936) is an American illustrator and cartoonist. Enos was born in New Bedford, Massachusetts. Throughout his career, which began in the 1960s, Enos has worked mostly in linocuts. Enos's work has appeared in the National Lampoon (where he produced the monthly strip Chicken Gutz in the 1970s), The Nation, the New York Times, Playboy, Time, Sports Illustrated, The Atlantic, Rolling Stone and other publications.
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The artwork incorporated into Kickshaws books includes drawings, linocuts and images printed from vinyl cut-outs in a variety of colours, designed to harmonize with the typography of the books and to illustrate, or decorate, the text. Kickshaws publishes books in both French and English (sometimes both), and its publications are in some ways closer to French livres d'artiste than to private press books in the Anglo-American tradition.
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Both publications are rare examples produced during the inter-war years which incorporate original linocuts. His next publication ‘To Daffadills’ (1934) incorporated a delicate wood engraving around Robert Herrick’s 17th century ode to the brevity of spring. The success of these publications led to several commissions for book illustrations and began a lifelong association with Sir Francis Meynell, the founder of Nonsuch Press.Meynell, Sir Francis. ‘My Lives’, The Bodley Head Limited, London 1971.
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Grace Thurston Arnold Albee (July 28, 1890 – July 26, 1985)Raisonne: Artist Biography was an American printmaker and wood engraver. During her sixty-year career life, she created more than two hundred and fifty prints from linocuts, woodcuts, and wood engravings. She received over fifty awards and has her works in thirty-three museum collections. She was the first female graphic artist to receive full membership to the National Academy of Design.
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Charles Kramer was an avid art collector and donated five large and highly important collections of prints to the Metropolitan Museum of Art (Picasso linocuts), the Tel Aviv Museum of Art (surrealist prints; self-portraits; Munch) and the Israel Museum (M.C. Escher). He died on March 23, 1988, at Mount Sinai Medical Center in Manhattan, of a heart attack, at age 72. At the time of his death he lived in Whitestone, Queens.
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From 1908 to 1912, she regularly provided illustrations for the Jahrbuch für bildende Kunst in den Ostseeprovinzen. She also participated in several exhibits at the Rigaer Kunstverein and the new Latvian National Museum of Art. The museums Director, Wilhelm Neumann, purchased several of her linocuts for its collection.Rigaische Zeitung #65, 20 March 1909 In 1909 she received a scholarship from the City of Riga: established by Georg Wilhelm Timm to help young artists.
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In 1992, Gurevich turned his focus toward art books. His book Reflections is a series of 17 linocuts, etchings and mixed media prints. The book pairs Gurevich's artwork with the poetry of Florence Freedman, which are written in calligraphy by Gurevich's wife, Erika Wittmann-Gurevich. It's now part of the print collection of the New York Public Library, the rare book collection of the Newark Public Library, and the Hermitage Museum, in St. Petersburg, Russia.
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He collaborated with Edith Lawrence with whom he had an interior design business, taught at the Grosvenor School of Modern Art from 1926 and wrote and organized exhibitions on linocuts. His pupils included various now- famous print artists such as Lill Tschudi, Cyril Power, Eileen Mayo and Sybil Andrews. Influenced by Cubism, Futurism and Vorticism, his work expressed dynamic rhythm through bold, simple forms. His linocut prints show his interest in depicting speed and movement.
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Peddle died in 1979. Ball State University and Rose-Hulman Institute of Technology (Logan Library) hold collections of her architectural drawings, sketches, and prints from the years 1928–1967. Her prints, many of which were created as annual Christmas cards, feature the bold black lines and high contrast typical of woodcuts and linocuts. Another collection of drawings is held by the Rose- Hulman Institute of Technology (formerly the Rose Polytechnic Institute) in Terre Haute.
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In subsequent years, M.Rahmanzade worked in the technique of linocut. First works made in this type of arts she dedicated to giant-factories of two young cities – Sumqayit and Rustavi. Each of two series consists of six industrial and urban landscapes and two portraits portraying front-rank workers. In 1960s, the artist visited a lot of remote regions of Azerbaijan. New series of colored linocuts were result of these visits: “My Motherland” and “Azerbaijan”.
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His works of this period are known in Puerto Rico as the "Botellian Style", recognized by his caricature figures, especially girls. Ángel Botello died in San Juan, Puerto Rico on November 11, 1986 leaving behind an impressive legacy of oil paintings, lithographs, linocuts, serigraphs and bronze sculptures. His former house located at Old San Juan, Puerto Rico now is an art gallery where his paintings, sculptures and artwork of other outstanding Puerto Rican and international artists are displayed.
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In 1980s carried out conceptual projects and published on his own three books and five books of poems in linoleum print technique. Together with Jan Kaja elaborated and issued a number of monographic art books dedicated to fine artists. Presented several dozen of solo exhibitions (in Poland: Bydgoszcz, Gdańsk, Sopot, Toruń, Warszawa, Łódź, Kraków, Lublin; and abroad in: Paris, Rome, Tokyo and Edinburgh). Since 1986 carries out his annual birthday exhibition of linocuts in the Authors’ Gallery.
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Retrieved February 13, 2012 and Kiwitz became an early member. The group organized an exhibit called "Five Years of Hitler Dictatorship", (Fünf Jahre Hitler- Diktatur) held at a local union hall. He worked on the exhibitionHélène Roussel (1984), p. 295 and contributed to the exhibition brochure, Cinq Ans de Dictateure Hitlerienne, cutting out a piece of linoleum flooring from under his bed and making linocuts depicting torture, courtroom trials and forced labor in the Third Reich.
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Common types of matrices include: plates of metal, usually copper or zinc for engraving or etching; stone, used for lithography; blocks of wood for woodcuts, linoleum for linocuts and fabric plates for screen-printing. Works printed from a single plate create an edition, in modern times usually each signed and numbered to form a limited edition. Prints may be published in book form, as artist's books. A single print could be the product of one or multiple techniques.
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As depicted by De Coster, Ulenspiegel carries in a locket around his neck the ashes of his father, burned at the stake outside of the walls of the city on charges of heresy – a feature never hinted at in any of the original folk tales. This experience begins Ulenspiegel's transformation from idle prankster to hero of the Dutch Revolt. The novel was later illustrated with a series of linocuts by Frans Masereel, the foremost Belgian modernist painter and engraver.
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She was born in Norwich and educated in Yorkshire and the Clifton High School, Bristol. She had a thorough grounding in art, studying at the Slade School in London, the Central School of Arts and Crafts and under Henry Moore at the Chelsea Polytechnic. In 1927 she was instructed in lino-cutting by Claude Flight over the telephone. Her resulting print was called "Turkish Bath", which was included in the Redfern Gallery's 'First Exhibition of British Linocuts'.
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Shelmerdine subsequently presented the Press's archive, along with its type and printing equipment, to the Bodleian Library in Oxford. The Samson Press was unusual for being run by two women, on a commercial footing, at a time when women found it very hard to find practical employment in the printing industry. It was also notable for its patronage of young and unknown artists, who were commissioned to provide wood-engravings, linocuts and drawings for the Press's publications.
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In 1949, she moved to Tokyo with her entrepreneur husband Frank and two daughters.Statler, Oliver, The Prints of Marian Korn, Weatherhill, New York and Tokyo, 1988, p. 195. In 1970, Marian accompanied one of her daughters to the atelier of Gaston Petit, where the daughter had been taking lessons. The daughter eventually became an art historian specializing in Japanese art, and, at the age of 56, Marian began her printmaking career by making woodcuts and linocuts.
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In the 1960s–1970s her work, which includes lithographs, linocuts, and serigraphs, reflected humanity and freedom. Between 1969-70, Lewis and E.J. Montgomery were consultants for a "ground breaking" exhibition creating awareness to the history of African American history and art. Lewis is the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business and community leaders in Los Angeles, California.
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Norbertine von Bresslern-Roth is regarded worldwide as the most important animal painter of the present day. In particular, her later works, which are less of a study and more of an artistic nature, are considered unrivalled. With her linocuts, she created outstanding and progressive graphic works of art, with which she was able to position herself in the international art scene already during her lifetime. With her representations she also achieved a great broad effect.
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Dams’ first solo exhibition PunkMe (1986), Jordaenshuis, Antwerp, featured linocut portraits evocative of his life in the underground Punk scene. Inspired by British post-punk ballet dancer Michael Clark, Dams started exploring movement as a subject matter for his work. A series of drawings and linocuts, featuring Clark, was exhibited in MOve (1987) an exhibition at Harrods, London. He went on to explore movement in series with dancers. In 1988, Dams’ artwork moved towards drawings, murals and installations.
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In 1960 he graduated from the graphic arts faculty of Moscow State Pedagogical Institute named after Lenin and joined Combine of graphic art of the Moscow Union of Artists. Since 1964 he is a member of the USSR Union of Artists. Originative way of V.Savosin began in the 60s, the years of rapid flowering linocuts which he devoted a significant segment of his career. Easy solutions, monumentality, search modern graphic expression are the basic hallmarks of Savosin’s engravings.
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Tylee studied in New Zealand with D. K. Richmond and T. A. McCormack. In 1923, she won a New Zealand Academy of Fine Arts award for a watercolour.Art Students Awards page 4, The Evening Post, 20 September 1923 From 1926 to 1929 she attended the Slade School of Fine Art in LondonSocial News page 15, The New Zealand Herald, 15 August 1929 and in 1937 at Académie Colarossi in Paris. She worked primarily in linocuts, watercolour, and oils.
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He was classically trained and had a great interest in portraiture, but Hnizdovsky was entirely self-taught in the art of printmaking. Hnizdovsky created hundreds of paintings, pen and ink drawings and watercolors, as well as over 377 woodcuts, etchings and linocuts after his move to the United States in 1949. He was greatly inspired by woodblock printing in Japan as well as the woodcuts of Albrecht Dürer. Influences on his early works can be seen on his website.
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William Perehudoff, Eva Mendel Miller and Lindner in Langham, Sask, January 1947 Lindner is known for his many watercolors inspired by the natural beauty of the wooded country around his summer home at Emma Lake. He also made etchings, lithographs, linocuts and wood block prints. Lindner has been called a Late Modernist and also a Magic Realist. Lindner depicted the forest floor from close quarters, with highly textured patterns of surface detail from the fallen branches, tree stumps, moss and lichen.
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Nielsen first exhibited at the Charlottenborg Spring Exhibition in 1949. During the course of the 1950s, he gained a reputation as one of Denmark's foremost graphic artists working with a wide variety of art forms including woodcuts, linocuts, etching, lithography, monotyping as well as with pen, paper and watercolours. A recurring theme in his work is the existence of modern man. His striking urban and technological landscapes present a mixture of splendor and horror, exposing the root causes of war and violence.
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In recent years her works have sold extremely well at auction with record prices being achieved, primarily within Canada. In 2015 an exhibition was held at the Art Gallery of Greater Victoria, Canada, A Study in Contrast: Sybil Andrews and Gwenda Morgan, comparing and contrasting fellow Grosvenor School artists. In 2017 her work was included in the exhibition, The Ornament of a House: Fifty Years of Collecting at the Burnaby Art Gallery A full exhibition history is available in Sybil Andrews Linocuts.
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John Muafangejo was considered the most important visual artist of his country. His linocuts are powerful depictions of people and events, expressed in black and white imagery, condensing the colourful landscapes and animal images of Namibia's artists of European origin. He often combines text with images, and his images contain references to the history and culture of the ovaKwanyama. He did not live to see the independence of Namibia, but the violent struggle for it formed the background for his art.
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A large influence was the most popular silent visual medium of the time: silent films. Panning, zooming, slapstick, and other filmic techniques are found in the books; Ward said that in creating a wordless novel, he first had to visualize it in his head as a silent film. Wordless novelists favoured relief printing such as in this wood engraving from Ward's Prelude to a Million Years (1933). Typically, wordless novels used relief printing techniques such as woodcuts, wood engraving, metalcuts, or linocuts.
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Editions of Hoyle's prints were produced by, amongst others, Christie's Contemporary Art, Neve International and Editions Alecto (who published his Cambridge Series of linocuts in 1965/66). His later prints combined figuration and an architectural sense of design with experimentation in printmaking processes including linocut, etching and aquatint. In addition to paintings and prints sold through galleries (including the Leicester Galleries, London), Hoyle produced commissioned illustrative work for organisations such as Shell-Mex,Mason, ‘Walter Hoyle'. p140 the Folio Society and the BBC.
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Sibley's art works are held in the collections of the State Library of Victoria and the National Library of Australia, as well as many private collections. Sibley has published over a dozen children's books, six handmade limited-edition books, and many bookplates for private collectors. Her artwork employs a range of techniques, including hand-coloured linocuts, scratchboard, and, later in her career, acrylic painting. Stylistically, her work can reflect Eastern European printmaking traditions, as well as contemporary representations of Australia's natural environment.
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We Were the New Americans, 2007, Enamel on pine, galvanized sheet metal with screws, 14 7/8 x 6 1/8 x 7/8 inches, edition of 12 Shepherd also makes editioned works more singularly about color using screen printing, etchings, digital printing, linocuts, collage and painted wood. Some include triangles based in Josef Albers’ pedagogy. The wood works span from stackable toy blocks to jigsaw puzzles to mobiles. Her editioned sculpture and more monochromatic works achieve a fragmented sense of collapsed geometry.
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Catlett is recognized primarily for sculpting and print work. Her sculptures are known for being provocative, but her prints are more widely recognized, mostly because of her work with the Taller de Gráfica Popular. Although she never left printmaking, starting in the 1950s, she shifted primarily to sculpture. Her print work consisted mainly of woodcuts and linocuts, while her sculptures were composed of a variety of materials, such as clay, cedar, mahogany, eucalyptus, marble, limestone, onyx, bronze, and Mexican stone (cantera).
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He illustrated The Seven Wonders of South Africa by Hedley Chilvers and The Coast of Hermanus by Will Costello. He also produced a series of auto-lithographic cigarette cards for the United Tobacco Company album Our Land / Ons Land (1939), and several illustrated calendars during the 1930s for the Vacuum Oil Company. Peers worked mainly in watercolor, but also produced oils and pastels as well as pencil drawings, etchings, linocuts, and lithographs. He concentrated on landscapes, architecture, and maritime subjects.
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In 1976, Baselitz rented a studio in Florence, which he used until 1981. In 1977, he began working on large-format linocuts. He began teaching at the Staatliche Akademie der Bildenden Künste in Karlsruhe, where he was appointed professor in 1978. From 1978 until 1980, he worked on diptychs using the tempera painting technique (combinations of motifs), multipart pictures (series of motifs), and large-format individual works such as The Gleaner (Die Ährenleserin), Rubble Woman (Trümmerfrau), Eagle (Adler) and Boy Reading (Der lesende Knabe).
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As a mature artist, Taylor painted in both oils and watercolor, but she preferred printmaking, especially woodcuts and linocuts. Her style is pictorial with strong graphic lines showing the influence of both modernism and her travels in Asia. Her images were generally printed either in bold colors or in stark black-and-white. With flattened perspective, large areas of color, and limited details, Taylor's prints have echoes of Arts and Crafts prints by artists such as William S. Rice, as well as some of Henri Matisse's work.
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Portrait bust of Horace Brodzky by Henri Gaudier-Brzeska, 1913 (Tate Gallery)Horace Ascher Brodzky (30 January 1885 – 11 February 1969) was an Australian-born artist and writer most of whose work was created in London and New York. His work included paintings, drawings and linocuts, of which he was an early pioneer. An associate in his early career of many leading artists working in Britain of his period, including Henri Gaudier-Brzeska, Mark Gertler, and members of the Vorticism movement, he ended his life relatively neglected.
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From this time there is little evidence that Perry created much in the way of new work. However, she had made her mark as a printmaker and painter, and in future years her work would be included in a few important survey exhibitions. In 1984, Perry's oil paintings were included in the exhibition Private Collection:The Post-Impressionist Mood in Australian Painting held at the Nolan Gallery, Lanyon, ACT. In 1986, Perry's linocuts were included in the exhibition Australian Printmakers: 1773–1986 at the National Gallery of Australia.
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Landscape of Khinalig village in the northern part of Azerbaijan was also described in these series besides the landscapes of Nakhchivan. In this remote village, surrounded by cliffs, with fair-roofed houses on the top of mountain, as if they had been built on each other. The artist learnt everyday life of residents of Khnialig, and painted with watercolors a lot. In these linocuts the artist portrayed laqndscapes of the village, mountains eternally covered with snow, steeps, simple formed buildings, residents in national costumes.
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Black is a single-member electoral district for the South Australian House of Assembly. It was created by the redistribution conducted in 2016, and was contested for the first time at the 2018 state election. Black is named after Dorrit Black (Dorothea Foster Black, 1891–1951), a South Australian modern artist, best known for linocuts, oil and watercolour paintings. Black lies south-west of the Adelaide city centre and includes the suburbs of Darlington, Hallett Cove, Kingston Park, Marino, O'Halloran Hill, Seacliff, Seacliff Park, Seacombe Heights, Seaview Downs, Sheidow Park and Trott Park.
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In 1948 Picasso came to live in Vallauris, where he stayed until 1955. During his time in the town, he created a great many sculptures and paintings including his mural War and Peace, one of the major artworks of the period. He also developed a fascination for the techniques of ceramics and linocuts. A freeman of the town, Picasso greatly contributed to the renaissance of the Vallauris pottery industry in the 1950s, this legendary golden age when everyone was a potter, including famous ceramicists Roger Capron and Charles Voltz.
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A print that copies another work of art, especially a painting, is known as a "reproductive print". Prints are created by transferring ink from a matrix to a sheet of paper or other material, by a variety of techniques. Common types of matrices include: metal plates, usually copper or zinc, or polymer plates and other thicker plastic sheets for engraving or etching; stone, aluminum, or polymer for lithography; blocks of wood for woodcuts and wood engravings; and linoleum for linocuts. Screens made of silk or synthetic fabrics are used for the screen printing process.
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Realizing the great demand for some of his prints, he sometimes produced large editions, or returned to reprint the editions. Other works, in less demand, were never reprinted after the first run. Berry's work is sometimes said to fall within three distinct periods: His early linocuts and oil paintings are experimental, and reflect the changing artistic trends of the early 1900s. In the era of the Depression, he turned to the more affordable medium of the woodblock, which eventually evolved into the iconic style of his wood engravings.
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Other monuments produced by him can be found all over the Faroe Islands, and his subjects are common everyday practical aspects of island life: seamen, islanders, sheep, pilot whales, the Faroese chain dance and so on. He used plaster, cement, baked clay, wood, basalt and bronze. Two of his sculptures, Sheep with two lambs (cement, 1955) and Four whales (1986), are exhibited at the Faroese Art Museum. In addition to his sculptures, he also produced graphics, particularly linocuts, including numerous book illustrations, posters, logos and even three postage stamps.
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Laurence Hyde in 1945 Born in Kingston upon Thames in England in 1914, Laurence Hyde moved with his family to Canada in 1926. They settled in Toronto in 1928, where Hyde studied art at Central Technical School. His strongest artistic influences included the painter Paul Nash and the printmakers Eric Gill, Rockwell Kent, and Lynd Ward; he corresponded with Kent and Ward. From the 1930s Hyde did commercial pen-and-ink and scratchboard illustrations, ran a business providing advertising illustrations, and made wood engravings and linocuts for books.
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Even more than her paintings, Preston’s woodcuts, linocuts, and monotypes show her capacity for Modernist innovation. Although she had experimented with etching while living in England, the best of her mature work was in woodcuts. These prints were inexpensive to produce and helped her to extend her reach to a broader market. Preston created over 400 known prints, not all of which are documented and some of which are lost. The great majority of surviving prints feature Australian native flora as their subjects, a result of Preston’s desire to make uniquely Australian images.
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He produced water and oil paintings, drawings, linocuts and woodcuts throughout his life, and in later years at Saffron Walden, he drew up architectural plans for local properties. He became ill in the spring of 1971, but cancer was not diagnosed until a few weeks before his death on 29 December. It was only after his death that exhibitions of Smith's work appeared, with a monograph finally being published in 1984. After Cook's own death in 2002, her papers and some of those of her husband were placed in Newnham College Archives, Cambridge.
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Self portrait thumb Fritz Lang (15 March 1877 Stuttgart - 26 October 1961 Stuttgart), was a German painter, noted for his woodcuts, linocuts, lithographs and book illustrations. Between 1892 and 1894 he was an apprentice decorative painter, after which he attended the Königlich-Württembergische Kunstschule in Stuttgart, and the Karlsruher Akademie. In 1899 he returned to Stuttgart, finding freelance work to generate an income. During this period he produced numerous woodcuts, some of which were purchased by the British Museum, the Königliche Kupferstichkabinett of Stuttgart, and the Hofbibliothek in Vienna.
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He met Saddam Hussein and sketched him. He encountered some criticism form comrades, given Hussein's brutal dictatorship (including CIA- supported slaughter of communists), but Sprague maintained he was documenting the horrors of war, the subject which had first brought him to political art. He won several prestigious awards, including poster of the year award from the Council of Industrial Design on two occasions. His linocuts for the radical collective Cinema Action's Kill The Bill film (1971), relating to the Industrial Relations Bill, began an involvement in moving images, which led to Jeff Perks’s 1976 BBC Omnibus documentary The Posterman.
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Colour linocuts can be made by using a different block for each colour as in a woodcut, as the artists of the Grosvenor School frequently did, but, as Pablo Picasso demonstrated, such prints can also be achieved using a single piece of linoleum in what is called the 'reductive' print method. Essentially, after each successive colour is imprinted onto the paper, the artist then cleans the lino plate and cuts away what will not be imprinted for the subsequently applied colour.Judging the Authenticity of Prints by The Masters by David Rudd Cycleback. Retrieved: 2011-12-17.
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Additionally, during the 1930s, Andrews created seven linocuts based on the drama of the life of Christ. Formally, Andrews’ works utilizes the principles of modernist design: simplified, geometric forms combined with vibrant, flat colors, and dramatic arrangements – suggesting the dynamism of modern life. Another common technique employed by Andrews is the retention of the paper, which functions as its own color resulting in sharp definition and high contrast between forms. Perhaps most significant is Andrews staple device of a “centrifugal force-field,” where elements of the composition rotate around a central point in order to create the illusion of movement.
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In 1975, while working as a teacher and focusing on her practice, she completed one of her major works The Banner of St Edmund. It is hand embroidered in silks on linen and was first conceived, designed and begun in 1930. This banner now hangs in St Edmundsbury Cathedral, Bury St Edmunds, the town of her birth. The Glenbow Museum in Canada holds copyright for Andrews' estate and houses the majority of her work with a collection of over 1000 examples, including the main body of her colour linocuts, original linoleum blocks, oil paintings and watercolour, drawings, drypoint etchings, sketchbooks, and personal papers.
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From her time at Art School, Birmingham was hailed for her pen and ink work and identified as a student with promise. Birmingham exhibited work at the Anthony Hordern Fine Art Gallery in 1921 along with other notable women painters such as Dorrit Black, Viola Macmillan Brown, Myra Cocks, Alice Creswick, Olive Crane, Grace Crowley, Anne Dangar, Marlon Ferrier, Georgina Hughes, and Bell Walker. She also featured her linocuts at numerous exhibitions In 1934, Birmingham wrote and illustrated a children's book of verse Skippety Songs and illustrated numerous others. Her work is represented in the collections of the National Gallery.
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1973), started translating these skills into the more portable forms of printmaking, linocut and etching, as well as larger scale bronze sculptures. Other outstanding artists include Billy Missi (1970-2012), known for his decorated black and white linocuts of the local vegetation and eco-systems, and Alick Tipoti (b.1975). These and other Torres Strait artists have greatly expanded the forms of Indigenous art within Australia, bringing superb Melanesian carving skills as well as new stories and subject matter. The College of Technical and Further Education on Thursday Island was a starting point for young Islanders to pursue studies in art.
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Paula Sengupta, Haren Das: The End of Toil, Delhi Art Gallery, 2008 Throughout his life Das perfected his woodcut and wood engraving techniques, sometimes producing multi-colored prints of enormous technical proficiency. Though Das created numerous etchings, aquatints, dry points and linocuts, he seldom ventured outside the realm of printmaking. Working during a time when fine art was equated with painting and sculpture, Haren Das was often criticized for working in what was then considered little more than a commercially oriented craft. Throughout his career Das remained committed to British academic and Victorian ideals that included concepts of perfection and traditionally perceived beauty.
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As a printer she has produced etchings, linocuts, lithographs, and screen prints. Among her many well-known posters are ‘You are on Aboriginal land’ and the Australian Government’s health promotion ‘Beat the grog’ and ‘Condoman’ AIDS awareness campaign, developed in collaboration with Aboriginal and Torres Strait Islander health workers. In 1976, Marie began working at The Tin Sheds Workshop at the University of Sydney, where a number of feminists were putting out posters related to feminist issues. In 2015, the Sydney University Gallery held an exhibition titled Girls in the Tin Shed; Marie had several works in the exhibition.
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Along with Thea Proctor and Margaret Preston, she can be credited with promoting linocuts. As early as 1930, Perry was commended as a 'clever artist' by The Bulletin magazine for her portraits of poet Mary Gilmore and art critic and co-owner of the Macquarie Galleries Basil Burdett, which she had submitted to the annual Society of Artists exhibition. It was noted she was on the staff of the Julian Ashton Art School and was a member of the Society of Artists. In the early 1930s, Perry established the Adelaide Perry School of Drawing and Painting at 12 Bridge Street, Sydney.
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In 1901 left Weimar for Hagen, where the collector Karl Ernst Osthaus had offered him a studio in the modern art museum he was setting up there. Meetings with Edvard Munch and Emil Nolde and the experience of seeing the works of Vincent van Gogh inspired him to move towards the expressionist style, in which he would work for the rest of his career. In 1908, at the age of 60, he made his first prints after seeing an exhibition of works by the expressionist group Die Brücke. He went on to make 185 in total, almost all woodcuts or linocuts.
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K.G. Subramanyan, a Retrospective is a book by R. Siva Kumar, released on the occasion of the fourth and largest retrospective show of K.G. Subramanyan, which was curated by R. Siva Kumar at the National Gallery of Modern Art. The exhibition consisted of 300 paintings including terracotta reliefs, reverse paintings on glass and acrylic, linocuts, lithographs, etching, silkscreens, drawings, studies, children's books, toys and saras-paintings on terracotta platters-and the photographs of murals. and the range of materials includes terracotta, glass, paper, wood porcelain and metal cement. The book offers an insight into the creative processes of K.G. Subramanyan.
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The collection charts styles as well as print processes, from Whistler's delicate etchings to Edward Bawden's magnificent linocuts. The last major addition to the print collection was a generous donation in 2004 from the Scottish artist Alan Davie (1920-2014) of over 70 prints, as well as 5 works in gouache. A significant addition to the collection has been made in recent years by acquiring a number of works by Dora Carrington who attended Bedford High School and lived in Bedford with her family at 1 Rothsay Gardens. Her family were still in Bedford while Carrington attended the Slade School of Art.
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In the early 1990s Feddersen created a series of monoprints based on blanket designs of the Plains Indians and Pendleton Woolen Mills. Heavy in geometry and layers and blended colors, the series were described by art scholar W. Jackson Rushing III as "watery veils of color", which brought out further comparisons to Rothko. With the series "Plateau Geometrics" Feddersen continued to create prints during the latter half of the 1990s. All of the prints in the series are one of a kind (instead of an edition) and incorporate techniques such as etching, drypoint, aquatint, blind embossing and linocuts.
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Bawden, who with his friend Ravilious discovered Great Bardfield and became a key figure in the local artists' scene, is well represented in the Fry Art Gallery collection through linocuts, watercolours, posters, ceramics, books, scrapbooks and other printed material. The gallery holds watercolours by Ravilious, plus lithographs, books, fabric, ceramics and a collection of woodblocks, as well as two of his scrapbooks. In 2015 V&A; Publishing, in association with the Fry Art Gallery, published Bawden, Ravilious and the Artists of Great Bardfield, illustrating a number of the pieces by Bawden, Ravilious, Rothenstein and other Bardfield artists in the collection.
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Gross began exhibiting sculpture in group shows of students at the Educational Alliance, and then at the Jewish Art Center in the Bronx. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club (the precursor to the Whitney Museum of American Art). In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art.
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In 1950, he visited Hamburg which inspired his early Orfeus og Eurydike (Orpheus and Euridice) illustrations. First published in book form in 1959, the work contains 53 linocuts. When it was republished in 1970 in a smaller format, it firmly established Nielsen's reputation. Nielsen's etchings and prints appear in a developing series of works, the most important being Den fortryllede by (The Endangered City, 1953), Alter for en by (Altar for a City, 1969), Den sovende by (The Sleeping City, 1955-1957), Parklanded (Park County, 1972), Nekropolis (Necropolis, 1970), Lethe (1985), Den store Verdensbunker (The Great World Bunker, 1950), Narcissus and Miraklens tid (Age of Miracles, 1984–90).
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During those times, he also was a frequent visitor at Panton Arms pub where he used to write most of his poems. Some of his poems were dedicated to his friends and family, including Barry Flanagan and Richard Long. He also collaborated with Tom Phillips on his project In One Side & Out the Other in 1970 as well as Bruce McLean whose linocuts he decorated with his poems in 2016, during which time his Sarments: New and Selected Poems came out. After divorcing his wife, James found comfort in Patricia Coyle who was doing media studies at Anglia Ruskin University where James was an educator on literature and film.
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After receiving a graduate degree from Fort Hays State College in 1970, he became a full-time painter, moving to New Mexico, the focal point of much of his work. In the later part of his career, Waldrum endeavored to preserve the historic churches that were the inspiration for his paintings. In 1985, he founded an organization to promote this goal and produced a series of documentaries about the deterioration and ultimately demolition of the churches. In the 1980s and 90s, he collaborated with a few printmakers to create a collection of aquatint etchings and linocuts in a style very similar to his paintings.
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Denim sandblasters contract fatal silicosis in illegal workshops Silicosis is seen in horses associated with inhalation of dust from certain cristobalite-containing soils in California. Social realist artist Noel Counihan depicted men who worked in industrial mines in Australia in the 1940s dying of silicosis in his series of six prints, 'The miners' (1947 linocuts). Art Gallery of NSW: Noel Couniham Collection While it has been long-thought that cases of silicosis in Australia were no longer possible, the recent reported epidemic in 2018 demonstrated that additional protections for workers were needed. Some have spoken publicly on the need to re-learn lessons from past experiences to prevent further disease.
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Galeyev Gallery (in Russian: Галеев Галерея) is a gallery specializing in the 20th century Russian art of the pre-World War II period. It was founded in May 2006, and it is located in the heart of Moscow's historic and cultural center, on Bolshoi Kozikhinskii Pereulok, near Patriarchs Ponds. The gallery's inaugural exhibition, Linocuts of the 1930s, which featured the works of Lev Lapin (1889–1962) began the museum's tradition of exhibiting previously unknown artworks of the 1920s and 1930s. Some of these exhibitions are of work by artists who are not well known, while others are lesser-known works of the more famous artists of that era.
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Robert Tavener held teaching positions at Medway College of Art in Rochester, Saint Martin's School of Art in London, and from 1953 Eastbourne College of Art and Design, where he rose to be the Head of Printmaking, Illustration and Graphic Design and Vice-Principal. Tavener's works included linocuts, lithographs, screen-prints, woodcuts, gouache and watercolours. His subjects included the English countryside and English architecture, including Oxford and Cambridge colleges, Canterbury Cathedral, Westminster Abbey, York Minster, and Christopher Wren's London churches. Tavener's work is owned by public institutions, including over 25 public art galleries in England and Wales, and also overseas in the United States.
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After earning his doctorate, Mulder became a private art dealer specializing in European printmaking between 1470 and 1970, and in 1972 went to work for the London art dealership, Colnaghi, owned at the time by Jacob Rothschild. In 1988, Mulder met Pablo Picasso's linocut printer, Hidalgo Arnera. Over the years, Mulder formed a professional relationship with Arnera and after Arnera's death in 2006, Mulder purchased some of his private collection and archives, including his archives of Picasso linocuts. He sold part of the linocut collection to Ellen Remai who then donated the collection to the Remai Modern Art Gallery in Saskatoon, Saskatchewan in 2012.
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After the war Underwood attended the Slade School of Art for a year's refresher course and in 1920 received the British Prix de Rome but chose not to go to Italy, instead using the grant to travel elsewhere later in the decade. In his Hammersmith studio he set up a private art school, the Brook Green School, which he ran, intermittently, until 1938. At Brook Green, Underwood initially, concentrated on teaching printmaking with woodcutting but also began making sculptures. In 1925, with some of his past pupils, Underwood created the English Wood- Engraving Society to promote the art form. Later in his career, between 1935 and 1945 Underwood created a significant number of colour linocuts.
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Social realism, the belief that art should reflect the realities of society under capitalism, was the artistic doctrine of the Communist Party of Australia, and in 1931 Counihan became a confirmed atheist and a member of the Party. He helped found the Workers Art Guild, and began printmaking, producing linocuts and lithographs for Communist magazine covers and pamphlets as well as designing banners. During the Great Depression Counihan participated in the "free speech" fights in Brunswick, organised by the Communist Party in response to a Victorian state government law banning "subversive" gatherings. Dozens of members of the Unemployed Workers Movement were arrested, and unemployed meetings at the intersection of Phoenix Street and Sydney Road, Brunswick were dispersed by police.
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Determining the coordinates of the creation of Dora Keresztes is especially helped by the artistic and thematic and technical constants of her works. There is a number of them and since the fundamental ones migrate between the individual fields of activity parallelly attended to by Keresztes, they mutually transform and the generic plasticity and imagination of these fields. The origin of her linocuts were probably the woodcuts of the middle age, the world of "Biblia Pauperum" ("Paupers' Bible") which became so popular by the designers and fine artists of expressionist movement in the beginning of the 20th century too. Also her works were deeply influenced by the simplicity of East European folk art.
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Harendra Narayan Das (1 February 1921 - 31 January 1993), better known as Haren Das, was a highly respected artist in India who worked almost exclusively in printmaking mediums. His work included engravings, linocuts, etchings, and lithographs, though he is most remembered for the technical skill of his woodcuts and wood engravings.Adip Dutta, Manifestations II : Indian Art in the 20th Century, Delhi Art Gallery, 2004 Haren Das followed a tradition of wood engraving that developed in the bazaars of north Calcutta in the mid-19th century. His early academic training was received partially from Ramendranath Chakravorty (1902–55), who had been influenced in color woodcut printing by the Japanese style of Ukiyo-e prints.
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The new art museum is not considered a direct continuation of the Mendel Art Gallery, although it did inherit its permanent collection after it closure on 7 June 2015. The assets of the Mendel Art Gallery were split between the City of Saskatoon government, and the Art Gallery of Saskatchewan following the Mendel's closure. In 2011, lead patron Ellen Remai donated C$15 million toward construction costs of a new art museum, C$15 million to support international exhibition programs, and also donated the most comprehensive collection of Picasso linocuts, to the future art museum's permanent collection. As a result of the donation, the museum announced it was rebranding as the Remai Art Gallery of Saskatchewan.
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From 1961, beginning with Heinrich Böll's Irisches Tagebuch, to 1991, he designed almost all of DTV's publications, a total of more than 6,300 titles. In 1987, the DTV produced a retrospective book about Piatti, entitled Celestino Piatti, Meister des graphischen Sinnbilds.Celestino Piatti, Meister des graphischen Sinnbilds dtv (1987) In addition to posters and books, his works also included stamps for the Swiss post office, (including a set marking the hundredth anniversary of the Gotthardbahn) lithographs, woodcuts and linocuts, stained glass, murals and other paintings, ceramics and sculptures. A motif that runs through his entire work, is the owl, as a messenger of good luck or misfortune, or as a symbol of wisdom.
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Spowers had her first solo exhibit in Melbourne at age 30, showing fairy-tale illustrations as those of Ethel Jackson Morris. Two further solo shows (1925 and 1927) at the New Gallery, Melbourne, confirmed her reputation as an illustrator of fairy tales, though by then she was also producing woodcuts and linocuts inspired by Japanese art and covering a broader range of subjects. \----Her style and artistic focus changed in 1928–29 when she studied linocut printmaking with Claude Flight at the Grosvenor School of Modern Art in London. She was one of several Australian women artists at the Grosvenor School, including Dorrit Black and Eveline Winifred Syme.Stephen Coppel, "Claude Flight and his Australian Pupils," Print Quarterly2(4)(December 1985): 263-283.
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Paul Hambleton Landacre (July 9, 1893, Columbus, Ohio - June 3, 1963, Los Angeles, California) was an active participant in the cultural flowering of interwar Los Angeles, described by Jake Zeitlin as a "small Renaissance, Southern California style". His artistic innovations and technical virtuosity gained wood engraving a foothold as a high art form in twentieth-century America. Landacre's linocuts and wood engravings of landscapes, still lifes, nudes, and abstractions are acclaimed for the beauty of their designs and a mastery of materials. He used the finest inks and imported handmade Japanese papers and, with a few exceptions, printed his wood engravings in his studio on a nineteenth-century Washington Hand Press, which is now in the collection of the International Printing Museum in Carson, California.
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The Societé Anonyme- collection, including Donas' work, has later been donated by Dreier to the Yale University and are still kept at the Yale University Gallery in New Haven. In the meantime, Donas continued working in Paris until she fell severely ill in the summer of 1921. The lack of savings forced her to leave her studio in Paris and return to her parents in Antwerp. In Antwerp, she must have been in contact with the Belgian art scene around Jozef Peeters seeing she participated prominently with twelve of her latest paintings and a portfolio of linocuts in a large-scale exhibition at El bardo on Sint- Jacobsmarkt in Antwerp in January 1922 organized by Peeters in the framework of the Second Congress for Modern Art.
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Hughes-Stanton had already started teaching at the Westminster School of Art before the war, and he now became more and more reliant on teaching – at Colchester School of Art, Saint Martin's School of Art and the Central School of Art and Design. Even in his 70s he was teaching at Winchester School of Art. He had very few commissions during this period, and the engravings for his best-known book from this period – The Confessions of an English Opium Eater by Thomas de Quincey (Folio Society, 1948 and 1963) – were engraved in the early 1930s for the Fanfrolico Press. In 1955 he began to work with Lewis and Dorothey Allen of the Allen Press in California, and produced five books for them, mostly illustrated with linocuts.
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Reynell's reputation was slow to take off, in part because she worked to a great extent isolated from the larger Australian art community (first at Reynella, later at Ballarat). In addition, because she was pioneering the field of ceramics in Australia, she lacked both a community of peers and an educated audience. Her work only began to be collected systematically in the late 1960s, and her pottery and other works (including paintings, linocuts, and sketchbooks) are now in major Australian collections, including the National Gallery of Australia, the Art Gallery of New South Wales, and the Powerhouse Museum in Sydney. The South Australian Art Gallery holds a portrait of Reynell in her mid-twenties painted by her friend Bessie Davidson.
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Vancouver, BC At the urging of Broadway High art teacher Hannah Jones, Tsutakawa enrolled in the University of Washington, where he studied under sculptor Dudley Pratt, who guided him both artistically and in the craft of producing large sculpture. He also worked with Alexander Archipenko, a renowned sculptor who occasionally taught classes at the U of W. Tsutakawa paid his tuition by working at a grocery owned by his uncle, and by working summers at a cannery in Alaska, which gave him the opportunity to visit native villages, examine the carvings on ceremonial buildings and totem poles, and talk to carvers. He made drawings and linocuts of fish, fishermen, the canneries, and the dramatic Alaskan landscape.Tsutakawa, George (1910-1997): Master of Fountains, by Deloris Tarzan Ament, 2003; HistoryLink.
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Three years later, the pair became part of the staff of the Grosvenor School of Modern Art – Power was appointed as one of the founding lecturers, while Andrews became the school's first secretary. Both Power and Andrews were swept up in Britain's linocut craze of the 1920s and 1930s under the tutelage of Claude Flight, instructor and champion of linocutting at the Grosvenor School. Flight, a proponent of the relatively new medium, believed that linocuts were most appropriate for expressing the modern age in which they lived, particularly because artists were able to move forward and stamp their own unique mark on the medium, free from the confines of tradition unlike the woodcuts based in historical Japanese methods. Likewise, Andrews quickly absorbed Flight's enthusiasm for linocutting and made it her life's work.
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Detail at right of eye. Representative of his "later, more colorful and painterly style", "the elements of the picture are seen as separate abstract markings" when viewed close-up, while simultaneously maintaining the illusion of a realistic portrait at a distance.. The pencil grid and thin undercoat of blue is visible beneath the splotchy "pixels." The painting's subject is fellow artist Lucas Samaras. Throughout his career, Chuck Close has expanded his contribution to portraiture through the mastery of such varied drawing and painting techniques as ink, graphite, pastel, watercolor, conté crayon, finger painting, and stamp-pad ink on paper; printmaking techniques, such as Mezzotint, etching, woodcuts, linocuts, and silkscreens; as well as handmade paper collage, Polaroid photographs, Daguerreotypes, and Jacquard tapestries.Chuck Close, October 29 – December 22, 2011 Blum & Poe, Los Angeles.
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In 1963, Brodzky wrote to the collector Ruth Borchard, who had just purchased from him a self-portrait for the sum of 12 guineas (£12.60): > Since 1911 I have been connected with the London art world & have exhibited > at all important exhibitions…and have worked for modern art... For a long > time I have sold none of my work & have had to rely on selling items by > other artists that I have collected…This letter is not an angry complaint > but just the plain facts that I thought you might like to know.Anon 1 (n.d.) In 1965 80th anniversary exhibitions were organized for Brodzky at the Ben Uri Gallery and the Oxford Union Cellars. In 1967 some of his early linocuts were reissued in London in a signed edition of 60 prints.
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His prints, including the early linocuts, gained early and lasting critical recognition, were awarded numerous prizes, and are found in more than a hundred and fifty public collections throughout the United States.These include the National Gallery of Art, Whitney Museum of American Art, Museum of Modern Art, Huntington Library, Art Institute of Chicago, Philadelphia Museum of Art, Amon Carter Museum of American Art, Los Angeles County Museum of Art, Library of Congress, New York Public Library, Boston Public Library, William Andrews Clark Memorial Library, and Smithsonian American Art Museum. Landacre died in 1963, soon after, and emotionally resulting from, the death of his wife who had been an essential working companion for 38 years, even helping the artist late in his life pull impressions from the formidable Washington Hand Press.
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Sacred topics were central to Pawlikowska's creativity, especially of Marian inspiration. Her portfolio of ten linocuts, Bogurodzica (Mother of God), overlain with watercolours and guilded are a reference to folk woodcarvings and paintings on glass. They were published by Medyka in 1930. Commenting on this art déco series, and other single works after the war, Pawlikowska said: "those pictures are on a religious theme, but my aim was to express them in Polish, not drawing on any pattern or style, rather perhaps relying on folk art (...) the point was to reflect the world through the Marian calendar and traditions, for example, Our Lady of Sowing, Our Lady of Berries, Our Lady of Herbs... and also to convey it by the simplest artistic means through line and thereby to confer as much expression as possible".
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Robinson's painting and print work featured in two books published in 2003 and 2004 respectively, being Other Men's Flowers. Portraits by John Z. Robinson, which concentrates on close up portraits of men, each paired with a painting of a flower, and Lake Warhola Soup - The Word-Prints of J. Z. Robinson, which focuses entirely on Robinson's punning monochromatic linocuts. In December 2007, Longacre Press published Parallel Lines: Riding the Central Otago Rail Trail which included paintings of Central Otago by Robinson together with poetry by Annie Villiers. Three books featuring Robinson's drawings and paintings were published in 2008 and 2009 – John Z. Robinson’s 'The Dream of Endymion', Amy Bock – A Series of Drawings by John Z. Robinson and The Male Figure in the Art of John Z. Robinson.
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Taking Sternberg advice to heart White would go on to paint The Contribution of the Negro to American Democracy. Printmaking enabled White to reach a wider public more directly and allowed him to bring together his social commitment and artistic practice. Although he had long been aware of art’s social utility, with his lithographs and linocuts he was finally able to communicate with a large, cross-national community of black workers and socialist artists, as opposed to his paintings, which were generally tied to individual purchasers. He started providing political cartoons for the Daily Worker and, in 1953, he published in association with Masses and Mainstream a portfolio of six reproductions of his ink-and-charcoal drawings, entitled 'Charles White: Six Drawings'. Priced at only $3, this portfolio aimed at getting art to the people, a main concern for progressive artists of the period.
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Using a handheld gouger to cut a design into linoleum for a linocut print Linocut printing; using a design cut into linoleum to make a print on paper Since the material being carved has no directional grain and does not tend to split, it is easier to obtain certain artistic effects with lino than with most woods, although the resultant prints lack the often angular grainy character of woodcuts and engravings. Lino is generally diced, much easier to cut than wood, especially when heated, but the pressure of the printing process degrades the plate faster and it is difficult to create larger works due to the material's fragility. Linocuts can also be achieved by the careful application of arts on the surface of the lino. This creates a surface similar to a soft ground etching and these caustic-lino plates can be printed in either a relief, intaglio or a viscosity printing manner.
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After practicing various crafts in factories and on construction sites, Gabriel Robin, who attended five years of evening drawing classes at the Ecole des Beaux-Arts in Belleville, set up his studio above the house he built in Aulnay in 1931 in which he shared his time between his profession as a cobbler in the morning, and his passion for painting the rest of the day. In 1932, as one of the founding members of the group called the Indélicats, he participated to its activities. They published an anarchist magazine, in the form of booklets containing ten linocuts (engravings on linoleum) printed at about a hundred copies, which took a political and critical look on society. Some of the social issues dealt with by Estève, Pignon, Roger Falck, Georges Ort, Adrien Cumora, Gisèle Delsine, Louis Féron, Fougeron, Marcel Debarbieux and Gabriel Robin with very effective graphic force were Bastille Day (14 July), unemployment, the elite, athletes, colonization and war.
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Although the periodical was subtitled "A Review of Constructivist Art", it was dedicated not only to constructivism, but also covered other forms of abstract art and had strong links to Dadaism, publishing pieces by Tristan Tzara. Punct was the among the leading avant-garde magazines published in Romania, a group which also comprises Contimporanul and the single issue of 75 HP. The issues of Punct were illustrated with linocuts by Romanian artists, among them Brauner, Marcel Janco, Miliţa Petraşcu, János Mattis-Teutsch, M. H. Maxy, as well as by foreign abstractionists such as Victor Servranckx or Kurt Schwitters. Inspired by Viking Eggeling's film design, Janco also composed a formal alphabet for Punct. The magazine published literary work by Romanian writers (Roll, Ion Vinea, Ilarie Voronca and others), poems by French-language poets (Philippe Soupault, Louis Emié, Georges Linze) and articles on art by Dutch and German painters (Theo van Doesburg, Kurt Schwitters, Herwarth Walden).
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Linocuts were also exhibited that year and included Aphrodite and Ares, Nymphs Dancing, Psyche and Eros, Nude Fiddling with Toe, Pan and Two Nymphs and Hebe and Artemis. She continued to explore themes relating to Persian mythology, Christian symbolism and Greek mythological subjects as well as referencing Ancient Egyptian art, creating a hieroglyph of her professional name and working on papyrus. Responding to the exhibition 'Salute to Berenice Sydney' held at the Royal Academy Max Wykes-Joyce wrote: > In the Spring of 1968 I was much charmed by a first one-person show at the > Drian Galleries of large, lively paintings which evidenced the artist's > interest in dance and music, and a group of black and white drawings on > mythological made in her late teens and very early twenties by the young > self-taught Berenice Sydney. I praised them greatly: show of her work were > in turn singled out for admiration in Arts Review by Marina Vaizey, Pat > Gilmour, Oswell Baakeston and Charles Bone.
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Kempson has created a strong international profile through exchange exhibitions of his students’ work and through his international lecturing and demonstrations. He has curated over 50 exhibitions in Australia, Thailand, New Zealand, Taiwan, Pakistan, Korea, Japan, UAE, USA, Canada and China. Exhibitions include: Aboriginal Dreams – Paintings, Etchings, Linocuts – Indigenous Art from Papunya Tjupi, at Indus Valley School of Art and Architecture, Karachi; Personal Space: Contemporary Chinese and Australian Prints at Manly Art Gallery and Museum which toured Australian and Chinese galleries in 2012/13; Seoul-Sydney: Contemporary Korean and Australian Prints at UNSW Galleries, Sydney in 2014 and at Chugye University for the Arts, Seoul in 2015; and Interchange at Silpakorn University Art Gallery, Bangkok, Thailand in 2014 and touring to Mosman Art Gallery, Sydney in 2015. In late 2012 Kempson was invited to curate an Australian component representing UNSW for the 11th Annual Printmaking Exhibition and Conference for Chinese Academies and Colleges at Guangzhou Academy of Fine Arts in China.
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His television work includes Derek in the factory-set "Lena, O my Lena" by Alun Owen for Armchair Theatre directed by Ted Kotcheff (1960), Ashton in Doctor Who (The End of Tomorrow) directed by Richard Martin (1964), Nobby in The Coming Out Party (the Wednesday play) (1965), Guido in The Big Spender (1965-66), Dr. Lassiter / Willy / Nobby Clark in Dixon of Dock Green (1966 / 68 / 72), Rogers in The Saint (1967), Colour Sgt. O'Brien in the Thames TV series Frontier (1968), D.I Gamble in ATV's Fraud Squad (1968-70), Mick in Sling Your Hook (the Wednesday play) (1969), Martin Stewart in The Patriot Game by Dominic Behan, Thames TV directed by Piers Haggard (1969), Mallory in Callan (1970), O'Neill in Elizabeth R (1971), Ryder in The Persuaders (1971), Reagan in the Protectors (1972), Edward Hammond in BBC TV series, The Brothers (1972-77), Manton in The Professionals (1980), Dan Glover in Enemy at the Door (1980), Jack Blair in LWT's 13 episode series of We'll Meet Again (1982), Brian Wilkinson in Yes, Minister (1982), Jack Vaizey in Inspector Morse (1993), Harry Hopwood in The Bill (1989 / 91), Gerard in Peak Practice (1993), James White in Casualty (1994), John Callard in Dangerfield (1995) He was also an artist known for his paintings, drawings, linocuts and etchings.
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