Minna Citron (1896-1991) was an American printmaker, whose style dramatically transformed from representational to abstract art in the 1940s. She became a member of Atelier 17, a renowned avant-garde studio in New York, and was known for her experimental printmaking techniques. This print "Untitled," created in about 1950, shows her bold use of color and her experimentation with abstract expressionism.
Minna Citron (1896-1991) was an American printmaker, whose style dramatically transformed from representational to abstract art in the 1940s. She became a member of Atelier 17, a renowned avant-garde print studio in New York, and was known for her experimental printmaking techniques. “The Last Tree,” printed in about 1950, was created in three states with red and blue ink. These prints were part of a series called "The Uncharted Course," in which Citron explored the relationship between spontaneity and control. She embraced the inherent mishaps of printmaking and found inspiration in the accidental forms they produced. This is an example of the second state of the etching in blue.
Minna Citron (1896-1991) was an American printmaker, whose style dramatically transformed from representational to abstract art in the 1940s. She became a member of Atelier 17, a renowned avant-garde print studio in New York, and was known for her experimental printmaking techniques. “The Last Tree,” printed in about 1950, was created in three states with red and blue ink. These prints were part of a series called "The Uncharted Course," in which Citron explored the relationship between spontaneity and control. She embraced the inherent mishaps of printmaking and found inspiration in the accidental forms they produced. This is an examlple of the first state of the etching in red.
Minna Citron (1896-1991) was an American printmaker, whose style dramatically transformed from representational to abstract art in the 1940s. She became a member of Atelier 17, a renowned avant-garde print studio in New York, and was known for her experimental printmaking techniques. "Arrival," was an etching, printed in 1951 as part of Citron’s series called "The Uncharted Course," which she created over a period of six years. Through this series she explored the relationship between spontaneity and control in printmaking. Her printing plate accidently broke while working on her two other prints, “Jet” and “Descendo,” so she took the opportunity to experiment with printing on the backside of the printing plate, resulting in “Arrival.” Rather than allowing technical slip-ups to deter her process, she found inspiration in the accidental forms they produced and embraced the inherent mishaps of printmaking.
Minna Citron (1896-1991) was an American printmaker, whose style dramatically transformed from representational to abstract art in the 1940s. She became a member of Atelier 17, a renowned avant-garde print studio in New York, and was known for her experimental printmaking techniques. “The Last Tree,” printed in about 1950, was created in three states with red and blue ink. These prints were part of a series called "The Uncharted Course," in which Citron explored the relationship between spontaneity and control. She embraced the inherent mishaps of printmaking and found inspiration in the accidental forms they produced. This print is an example of the third state of the etching in blue.
This print is one of a portfolio of 18 loose-leaf engravings titled "Memories of a Landscape," by Anne Breivik (1932-1912), a Norwegian artist who studied at Atelier 17 in Paris and co-founded Atelier Nord in Norway. The portfolio was published by the Atelier Nord in 1976 along with corresponding poems by Jon Bing. Breivik is best known for her use of the Hayter technique which involves printing from a plate that has been inked with different colors.
This print is one of a portfolio of 18 loose-leaf engravings titled "Memories of a Landscape," by Anne Breivik (1932-1912), a Norwegian artist who studied at Atelier 17 in Paris and co-founded Atelier Nord in Norway. The portfolio was published by the Atelier Nord in 1976 along with corresponding poems by Jon Bing. Breivik is best known for her use of the Hayter technique which involves printing from a plate that has been inked with different colors.
This print is one of a portfolio of 18 loose-leaf engravings titled "Memories of a Landscape," by Anne Breivik (1932-1912), a Norwegian artist who studied at Atelier 17 in Paris and co-founded Atelier Nord in Norway. The portfolio was published by the Atelier Nord in 1976 along with corresponding poems by Jon Bing. Breivik is best known for her use of the Hayter technique which involves printing from a plate that has been inked with different colors.
This print is one of a portfolio of 18 loose-leaf engravings titled "Memories of a Landscape," by Anne Breivik (1932-1912), a Norwegian artist who studied at Atelier 17 in Paris and co-founded Atelier Nord in Norway. The portfolio was published by the Atelier Nord in 1976 along with corresponding poems by Jon Bing. Breivik is best known for her use of the Hayter technique which involves printing from a plate that has been inked with different colors.
This print is one of a portfolio of 18 loose-leaf engravings titled "Memories of a Landscape," by Anne Breivik (1932-1912), a Norwegian artist who studied at Atelier 17 in Paris and co-founded Atelier Nord in Norway. The portfolio was published by the Atelier Nord in 1976 along with corresponding poems by Jon Bing. Breivik is best known for her use of the Hayter technique which involves printing from a plate that has been inked with different colors.
This print is one of a portfolio of 18 loose-leaf engravings titled "Memories of a Landscape," by Anne Breivik (1932-1912), a Norwegian artist who studied at Atelier 17 in Paris and co-founded Atelier Nord in Norway. The portfolio was published by the Atelier Nord in 1976 along with corresponding poems by Jon Bing. Breivik is best known for her use of the Hayter technique which involves printing from a plate that has been inked with different colors.
This print is one of a portfolio of 18 loose-leaf engravings titled "Memories of a Landscape," by Anne Breivik (1932-1912), a Norwegian artist who studied at Atelier 17 in Paris and co-founded Atelier Nord in Norway. The portfolio was published by the Atelier Nord in 1976 along with corresponding poems by Jon Bing. Breivik is best known for her use of the Hayter technique which involves printing from a plate that has been inked with different colors.
This print is one of a portfolio of 18 loose-leaf engravings titled "Memories of a Landscape," by Anne Breivik (1932-1912), a Norwegian artist who studied at Atelier 17 in Paris and co-founded Atelier Nord in Norway. The portfolio was published by the Atelier Nord in 1976 along with corresponding poems by Jon Bing. Breivik is best known for her use of the Hayter technique which involves printing from a plate that has been inked with different colors.
This print is one of a portfolio of 18 loose-leaf engravings titled "Memories of a Landscape," by Anne Breivik (1932-1912), a Norwegian artist who studied at Atelier 17 in Paris and co-founded Atelier Nord in Norway. The portfolio was published by the Atelier Nord in 1976 along with corresponding poems by Jon Bing. Breivik is best known for her use of the Hayter technique which involves printing from a plate that has been inked with different colors.
This print is one of a portfolio of 18 loose-leaf engravings titled "Memories of a Landscape," by Anne Breivik (1932-1912), a Norwegian artist who studied at Atelier 17 in Paris and co-founded Atelier Nord in Norway. The portfolio was published by the Atelier Nord in 1976 along with corresponding poems by Jon Bing. Breivik is best known for her use of the Hayter technique which involves printing from a plate that has been inked with different colors..