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Buy Alex Katz Prints __FULL__

Alex Katz is a figurative artist. He is known for paintings, sculptures and prints and is represented by numerous galleries internationally. His paintings are divided almost equally into the genres of portraiture and landscape.

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Portraits are one of the great subjects of Alex Katz's paintings and prints. Katz's editions with Graphicstudio are illustrative of his signature approach and style of transforming his circle of family and friends into visually arresting icons. In Tracy, the artist shows the back of the model's head only, suggesting character and personality through the set of the shoulders and the contrasting gray and gold tonalities of the hair, skin, dress and background. Mae is deceptively simple with subtle tonalities and luminous layers.

Landscapes are also great subjects of Alex Katz's boldly simplified paintings and prints. Coleman Pond II and Coleman Pond III are characteristic of his minimalist treatment of the landscape: on a dark blue field or shifting downward from light to dark, a few spare lines define sky from earth and sketch out details of vegetation. The heliorelief (photographic woodcut) was created and printed in the mokuhanga style traditionally used for the famed Japanese ukiyo-e prints of the 17th through 19th centuries. The woodblock is shin-a or basswood veneer, and the ink is nikawa, hand-milled from pigment, fish-glue and water; the Japanese kozo paper is hand-printed with a hon baren.

During his time as a visiting artist at the University of Pennsylvania, Katz approached Japanese artist and printmaker, Hitoshi Nakazato, who was an Associate Professor at the Graduate School of Fine Art, to make a series of prints. [22]

The prints of Alex Katz are distributed in Europe by Galerie Frank Fluegel in Nuremberg. A retrospective of his work is currently (June - October 2022) on display at the Thyssen National Museum of Spain, the first time Katzs work has been displayed in that country.

In October 1996, the Colby College Museum of Art opened a 10,000-square-foot (930 m2) wing dedicated to Katz that features more than 400 oil paintings, collages, and prints donated by the artist.[47] In addition, he has purchased numerous pieces for the museum by artists such as Jennifer Bartlett, Chuck Close, Francesco Clemente, and Elizabeth Murray. In 2004, he curated a show at Colby of younger painters Elizabeth Peyton, Peter Doig and Merlin James, who work in the same figurative territory staked out by Katz.[2]

Before the rise of Pop art, American artist Alex Katz (born 1927) developed an iconic style of figurative painting in the early 1960s--influenced by film, television and billboard advertising. Katz created seemingly detached and incredibly stylish portraits of New York's social and art scenes as well as idyllic landscapes. Printmaking plays an equally central role in Katz's work; he uses lithographs, etchings, silkscreens, woodcuts and linocuts to reproduce, reflect and further reduce his bold aesthetic, while retaining the radiant color characteristic of his paintings.Since the first edition of this catalogue raisonné, published in 2011, Katz has almost doubled his output of prints. This timely new edition includes his complete prints, cutouts and artists' books, in addition to his book illustrations and public art projects. New essays and interviews with the artist provide profound insights into the work of one of the foremost American artists today.

Alex Katz is an American figurative artist known for his paintings, sculptures, and prints. Alex Katz often depicts his family and friends in flat, Pop-inflected portraits. His impact is apparent in the extensive writings on his work and in his numerous exhibitions at museums and galleries throughout the United States, Europe, and Asia. A small sampling of the public and private collections that own his art includes: The Museum of Modern Art (New York City), The Metropolitan Museum of Art (New York), The Tate Gallery (London), Neue Nationalgalerie (Berlin), and the Hirshhorn Museum and Sculpture Garden (Washington, D.C.).

Often associated with the Pop Art movement, Katz began exhibiting his work in 1954, and since that time he has produced a celebrated body of work that includes paintings, drawings, sculpture, and prints. His earliest work took inspiration from various aspects of mid-century American culture and society, including television, film, and advertising, and over the past five and a half decades he has established himself as a preeminent painter of modern life, whose distinctive portraits and lyrical landscapes bear a flattened surface and consistent economy of line. Katz's flattening of forms, simplification of detail, and alla-prima paint application, are trademarks of his work.

Hi Priscilla,Thank you for your interest in our Alex Katz prints; however, as a non-profit institution The Phillips Collection has an ethical obligation to not speak on the market value of works within our collection. Have a happy new year!Amy Wike, The Phillips Collection team

With a visual language of stylized flats in amplified colors, Alex Katz sought inspiration from Japanese woodcuts and American culture to create his distinctive portraits and landscapes. His bold and simple paintings are noted as precursors to the Pop Art movement, Katz career includes a prolific oeuvre in printmaking, his prints adhering to the artist's unremitting style that characterized the subjects and spaces he immortalized.

One of the most recognized and widely-exhibited artists of his generation, Alex Katz was born in 1927 in Brooklyn, New York. Studying at the Cooper Union School in New York from 1946 to 1949 Katz left for the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. It was here that he was exposed to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz has admitted to destroying a thousand paintings during his first ten years as a painter in order to find his style. Since the 1950's, he worked to create art more freely in the sense that he tried to paint "faster than [he] can think." Every year from early June to mid-September since 1954, Katz has moved from his SoHo loft to a 19th-century clapboard farmhouse in Lincolnville, Maine. Coming into his own style of expression, his paintings are defined by their flatness of color and form, their economy of line, and their cool but seductive emotional detachment; with a key source of inspiration being the woodcuts produced by Japanese artist Kitagawa Utamaro. From 1954 to 1960, Katz made a number of small collages of still lifes, Maine landscapes, and small figures. It was during this time that Katz began exhibiting his work, and since then has produced a celebrated body of work that includes paintings, drawings, sculpture, and prints. Taking inspiration from various aspects of mid-century American culture and society, including television, film, and advertising, over his storied career he has established himself as a preeminent painter of modern life. Utilizing characteristically wide brushstrokes, large swathes of color, and refined compositions, he is most often associated with the Pop Art movement even though his creations predate it.

\n\n\n\n\n\nAldo Crommelynck, one of the world\u2019s foremost intaglio printers, died in Paris on December 22, 2008 after a brief illness. He is survived by his adopted daughter, Corrine Buchet Crommelynck and his stepson, Jean Marie Buchet. His wife, Pep, passed away several years ago. A private funeral service was held in Paris.\n\n\nBorn in 1931 in Monaco, Crommelynck worked with three generations of artists. Initially as an employee of Roger Lacouriere in Paris beginning in 1947, he spent the years from 1948 \u2013 1955 learning printmaking techniques and assisting numerous artists including Braque, Picasso, Matisse, and Miro. During this period, he formed an especially close working relationship with Picasso. In 1963, Picasso decided he needed a printer close by his house, in Notre-Dame-de-Vie in Mougins. Picasso would create etchings on copper plates supplied by Crommelynck in the morning and Crommelynck would return with proofs in the afternoon. When the proofing was complete, the plates went to Crommelynck\u2019s studio in Paris to become editions. Crommelynck\u2019s printed for Picasso for over twenty years and collaborating on most of his intaglio projects including the series \u201c60\u201d, and \u201c156\u201d, and culminating in 1968 with Picasso\u2019s Suite 347.\n\n\nIn addition to Picasso, Crommelynck printed for Braque, Matisse, Miro, Roualt, Masson, Leger, and Giacometti during their later years. After Picasso\u2019s death in 1973 and continuing into the early eighties, he printed in Paris for numerous contemporary artists including Jim Dine, Richard Hamilton, David Hockney, Harold Hodgkin, Jasper Johns, and David Salle.\n\n\nAldo and his brother Pierro had a falling out in 1984 which ended their business relationship and resulted in Pierro\u2019s attempt to take public credit for all of Aldo\u2019s collaborative successes. In 1986, Crommelynck formed a joint venture with Pace Editions Inc. and establish a printing studio with Pace in New York\u2019s Soho in addition to his Paris studio where he collaborated as a printed publisher with Chuck Close, Jim Dine, George Condo, Red Grooms, Alex Katz, Claes Oldenburg, Ed Ruscha, Joel Shapiro, Donald Sulton and Terry Winters.\n\n\nIn 1989, the Whitney Museum organized a tribute to Crommelynck, Aldo Crommelynck Master Prints with American Artists. He received the Grand Prix Nationale Des Metiers D\u2019Art in 1989. Jim Dine and Aldo collaborated on over 100 prints from 1976 to 1997, many of which were included in an exhibition, Aldo et Moi, at the Bibliotheque Nationale de France, Paris in 2007.\n\n\nIn 2000, Aldo retired to Paris.\n\n";window.isMobile = false; Explore the Fine Art Gallery 041b061a72

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