"The Graces Lie Shy" Intaglio Etching by Chaim Koppelman

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"The Graces Lie Shy" intaglio etching by Chaim Koppelman (American b.1920 d.2009).

Moody etching by prominent American printmaker and educator … Read more "The Graces Lie Shy" intaglio etching by Chaim Koppelman (American b.1920 d.2009).

Moody etching by prominent American printmaker and educator Chaim Koppelman. In this piece a nude female figure is laying in a patch of grass at the bottom right corner, she is ringed in by a row of rocks, behind which a man with a large coat and hat stands. Bare tree branches stretch into a dim and textured cloudy sky on either side of them. Both of the figures subtly interact with the background. The lines shaping the woman's body blend in with the grass and the texture of the clouds is visible through the semi-transparent figure of the man. The title of the piece is taken from a poem by Eli Siegel, a friend and mentor of Koppelman; "Even in our dooms/ the graces lie, shy and unperturbed."
The phrase implies that even in difficult situations, a quiet presence of good or divine favor remains undisturbed. This grace may not be immediately apparent, but it is subtle and unwavering. This suggests a theme of finding hope and resilience amidst suffering.
This phrase is reminiscent of a quote by Aeschylus, which speaks of how wisdom can come through suffering. Difficult experiences can lead to a deeper understanding and appreciation for life's graces

Mat size: 24" H x 24" W
Image size: 16" H x 18.75" W
Paper is cut unevenly and measures 19" H x 22.5" W at its widest points.
Numbered and title in bottom left "Ed. 25 The Graces Lie Shy"
Signed in bottom right corner "Chaim Koppelman '58."

Chaim Koppelman (1920–2009) was a distinguished American artist, printmaker, and educator who played a key role in shaping modern printmaking. Renowned for his mastery of etching and aquatint, his work was marked by a bold fusion of classical precision and imaginative freedom. He was deeply influenced by Aesthetic Realism—the philosophy founded by Eli Siegel, which posits that all beauty is a “oneness of opposites.” Koppelman established the Printmaking Department at the School of Visual Arts in 1959 and taught there for nearly five decades. His art, infused with ethical inquiry and psychological insight, was widely exhibited and is represented in major institutions including MoMA, the Whitney, the National Gallery, and the Victoria and Albert Museum. He was a lifelong advocate for Aesthetic Realism, integrating its principles into both his creative process and teaching.

Koppelman’s early training included study under artists such as Will Barnet and Jose de Creeft, and he was active in New York’s vibrant postwar art scene, working with Atelier 17 and the Robert Blackburn Printmaking Workshop. With his wife Dorothy, he co-founded the Terrain Gallery, which became a hub for artists exploring Siegel’s ideas. His work often grappled with social justice and personal conflict, seen in allegorical prints that addressed war, identity, and moral struggle. See less