Ann Taylor Warp Speed Hand Signed Fine Art Pastel Mountain Lithograph

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Description

"Warp Speed"
Unframed
Limited Edition Lithograph on Paper
Hand signed by the artist
Image Size: 22" x 22"
Edition Number: … Read more "Warp Speed"
Unframed
Limited Edition Lithograph on Paper
Hand signed by the artist
Image Size: 22" x 22"
Edition Number: 99/100
Circa 1982
Condition of the lithograph is Excellent.
has tape stain in back (has been framed before)
Certificate of Authenticity is included







ANN TAYLOR


American Contemporary Painter
"Luminous", "elegant", "unique .... these are words used often to describe the landscape paintings of Ann Taylor. She has the ability to capture the essence of earth and air. Her silvery skies are a symphony of light and her rich sienna earth tones, warm and inviting. Primarily a landscape painter, Taylor concentrates in her work upon the distillation of universality from specific landscape ideas. Her deft manipulation of color and light, combined with a suspension of spatial perspective, portray a comprehensive view of the natural world. The dominant feature of the paintings is a conceptual vastness and a technical delicacy which combine to link her work to that of Joseph Turner and Oriental artists, although the particularity of her vision makes the paintings uniquely her own.
Taylor began exhibiting professionally in 1964. Since that time, her paintings have been shown in galleries and museums throughout the United States. John Gruen stated, "Hazy, muted and quite beautiful are these landscapes." Jane Young continued, "There is an aura of spirituality in these paintings that stems from the austere simplicity of design, the subtlety of color, and most of all from the underlying intensity and single-mindedness of the artist's vision." Gordon Brown of Arts Magazine said, "One thinks of Ad Reinhart, to whom Taylor bears a certain resemblance with her mystical mood and monochromatic style." Donna Marxer of Arts Magazine concluded, "The complexity in Taylor's works is something that transcends the subtle palette and exquisite technique. It is an almost eerie sense of life and movement. The artist literally paints the very air."

Taylor's work emerges from the vastness of American wilderness. Never painting on location, she assimilates ideas, tones and patterns and returns to her studio to create her special vision of the land. By distilling the essentials from specific land formations, she gives each work a deliberate kind of universal significance. A formalist interested in the formation of line, color and structure, Taylor brings her viewers to a heightened awareness of these qualities under the guise of evocatively sophisticated landscapes.
Taylor's paintings are represented in New York by The Christopher Gallery, 766 Madison Avenue. Recently her work has been exhibited in a number of national and invitational exhibitions. Her paintings are included in a large number of private collections throughout the country. Among the museums and galleries which have shown or purchased her work are: The Gallery of Modern Art in New York; The Indianapolis Museum of Art; The Memorial Art Gallery and The Oxford Gallery in Rochester; The Miller Gallery in Cincinnati; The Janet Fleischer Gallery in Philadelphia; The Art Wagon Galleries in Scottsdale; The Hunter Gallery in Aspen; Gallery One in Petoskey; Arwin Galleries in Detroit; The Naples Art Gallery in Naples; and Mickelson Gallery in Washington.


Lithograph definition:

Lithos is Greek for "stone", and a stone surface has traditionally been involved in lithography, though a metal plate may take its place today. Lithography uses simple chemical processes to create an image. For instance, the positive part of an image is a water-repelling ("hydrophobic") substance, while the negative image would be water-retaining ("hydrophilic"). Thus, when the plate is introduced to a compatible printing ink and water mixture, the ink will adhere to the positive image and the water will clean the negative image.
In the 1890s, color lithography gained success in part by the emergence of Jules Chéret, known as the father of the modern poster, whose work went on to inspire a new generation of poster designers and painters, most notably Toulouse-Lautrec, and former student of Chéret, Georges de Feure. By 1900 the medium in both color and monotone was an accepted part of printmaking.
During the 20th century, a group of artists, including Braque, Calder, Chagall, Dufy, Léger, Matisse, Miró, and Picasso, rediscovered the largely undeveloped artform of lithography thanks to the Mourlot Studios, also known as Atelier Mourlot, a Parisian printshop founded in 1852 by the Mourlot family. The Atelier Mourlot originally specialized in the printing of wallpaper; but it was transformed when the founder's grandson, Fernand Mourlot, invited a number of 20th-century artists to explore the complexities of fine art printing. Mourlot encouraged the painters to work directly on lithographic stones in order to create original artworks that could then be executed under the direction of master printers in small editions. The combination of modern artist and master printer resulted in lithographs that were used as posters to promote the artists' work. See less