A place for talking about art, social issues, and most anything else I think THAT'S INKED UP.
Showing posts with label Atelier 17. Show all posts
Showing posts with label Atelier 17. Show all posts
Tuesday, September 3, 2013
Atelier 17's Grand Master, Stanley William Hayter
You know there are printmakers, and then there are PRINTMAKERS. Stanley William Hayter is recognized as one of the greatest of the greats of this medium, and you'd be hard-pressed to find anyone who would refute it. His legacy for encouraging European and American artists, in fact artists from around the globe, who made their personal pilgrimages and flocked to his Atelier 17 doors, was and still is staggering. Artists who never had printed before suddenly were seen working in his studio. Notable artists of the 20th c. were commonly seen working on plates and inking it up alongside their colleagues. It was the Best place to work, and to study the Hayter 'multi-color technique'. He trained some of the best printmakers of the generation and his own work bridged between the standout Surrealism and Abstract Expressionism movements which defined the century.
Stanley William Hayter, CBE (1901 –1988) was a British artist associated in the 20thc with two of its most important art movements - Surrealism and Abstract Expressionism. Widely regarded as one of the most significant printmakers of the 20th century, in 1927 Hayter founded a print shop in Paris for young artists interested in the medium in 1927.The shop became known as Atelier 17, (which has since been called Atelier Contrepoint after his death in 1988).
Hayter was born in London’s Hackney neighborhood, to a family of artists. Before art became his passion, Hayter studied chemistry and geology from King's College London and worked in the Middle East from 1922-1925 for the Anglo-Persian Oil Company. When Hayter returned home to convalesce from an attack of malaria, he had a one-man show of the paintings and drawings he had made while overseas. Shortly thereafter, Hayter chose to study art.
In 1926, Hayter studied briefly at the Académie Julian in Paris. During that same year, he met a Polish printmaker Józef Hecht, who introduced him to the printmaking medium. Hecht helped Hayter acquire a press for starting a printmaking studio for artists young and old, experienced and inexperienced, to work together in exploring the engraving medium.In 1927, Hayter opened the studio, and in 1933 he moved it to No. 17, Rue Campagne-Première, where it became internationally known as Atelier 17.
In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson. He began a series of printmaking technical experiments all loosely based on the Surrealist/Jungian concepts of subconscious image and automatic line. At the outbreak of World War II, Hayter moved Atelier 17 to New York City and taught printmaking at the New School. Artists from around the world gathered to work with him, many had been part of the printmaking section of the WPA, and some young artists were interested in breaking with the past and experimenting with technique and ideas. The emphasis in New York focused more on experimental color printing, and technical experimentation. Artists such as Jackson Pollock and Mark Rothko made prints at the New York Atelier 17. Returning to Paris in 1950, Hayter took Atelier 17 with him. Hayter was a prolific printmaker, completing more than 400 before his death. His book New Ways of Gravure was published in 1949 and again in 1966, whereas his other book About Prints was published in 1962. Hayter made 452 prints during his lifetime.
Hayter returned to Paris in 1950 and re-established Atelier 17, attracting more international artists, including artists from Asia. Noted for his innovative work in the development of printing with varying viscosities of oil-based inks to lay multiple colors on a single intaglio plate). Hayter has been credited with influencing notable artists such as Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, Marc Chagall, Jackson Pollock, Mark Rothko, and the great artist/teacher Mauricio Lasansky.
Awards
1951 - Officer (OBE) rank in the Order of the British Empire
1951 - The French government’s Légion d'honneur
1958 - Representative artist for Great Britain at the Venice Biennale
1967 - Chevalier des Arts et des Lettres of the Ordre des Arts et des Lettres
1968 - Commander (CBE) rank in the Order of the British Empire
The first family artist was Charles Hayter (1761-1828);a miniaturist and portrait draftsman as well as an artistic theoretician. He was appointed Princess Charlotte's Professor of Perspective and he published a treatise on this subject in 1813. Two of Charles Hayter's sons became well-known painters: Sir George Hayter (1792-1871) and John Hayter (1800-1891). George Hayter was appointed Queen Victoria's portrait and history painter on her accession to the throne. She knighted him in 1842 for his services. George's younger brother, John, first exhibited at the Royal Academy in 1815 at the age of 15. John Hayter was the great-great-grandfather of Stanley William Hayter. And S. W. Hayter's father, William Harry Hayter, was also a painter and professional artist.
Hayter was married three times: 1) Edith Fletcher (dissolved in 1929), 2) American sculptor Helen Phillips (dissolved in 1971), and 3) Irish poet and writer Desiree Moorhead, with whom he lived in Paris at the time of his death. He had three sons: Patrick from his first marriage, Augy and Julian from his second. Augy was an actor, writer and translator, and Julian was a composer, musician and photographer. All are deceased.
Stylistically, Hayter's often violent-looking Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and to the rise of Fascism. His theoretical writings on automatism and the expressive abstraction of his own work were a formative influence on Pollock and others.
From the 1940s his primary technical preoccupation was with color printing. His technique suited an increasingly chance look and explored his fascination with waves. From the 1970's Hayter reintroduced figurative elements in combination with a vibrant palette and lyrical line. Like his work or not, one has to give the man kudos for inspiring and giving of his life for a medium he loved. We have all benefitted greatly from his work and the legacy that lives on in his workshop.
Labels:
Atelier 17,
Paris,
Pollock,
Rothko,
Stanley William Hayter,
Viscosity printing
Sunday, July 21, 2013
Taiwan’s LIAO SHIOU-PING : Where East Meets West
LIAO SHIOU-PING was born in Taiwan in 1936, the son of a civil engineer. As a child, he would often study architectural blueprints spread across his father’s desk. His family lived near Taipei’s famous Longshan Temple and it helped formed strong influences upon his artwork.
The name Shiou-Ping Liao is practically synonymous with printmaking in Taiwan. Dedicated to promoting modern Taiwanese printmaking, Liao has made significant contributions to the development of modern printmaking in Taiwan and China. Liao’s art education started at the National Taiwan Normal University. In 1959, he moved to Tokyo, Japan to study at the Tokyo University of Education (now the University of Tsukuba), and then moved to paris France to study at the Fine Arts Institute of Paris, and Atelier 17. He studied painting, graphic design and printmaking. When he was in Paris, one of his instructors pushed him to find his own style, and he began to explore his Asian roots as a source of inspiration. He drew on memories of the candles, incense and ghost money from Longshan Temple for much of his later work. In the late 1960s he loved to New York where he developed his Symbols series, inspired by Taiwanese culture. Liao believed that “an artist’s style reflects the rhythms of the society that he lives in.”
Liao has devoted himself to creative expression and exploration, developing visual art to express the character, customs, faith, and lifestyles of his people. Liao’s work incorporates Asian sensibilities with a strong graphic design. It is work full of personal symbols and rich in Eastern art colors like red, gold and black; describing a longing for harmony, balance and beauty. He has found a way to bridge Eastern and Western ideas, techniques, and formats, creating a series of works of unique symbols which derive from inscriptions on ancient bronze, drawings of antique ceramics, and Chinese religious, folklore art and gates which reflect secular and divine connections.
In the mid 1970s, Liao returned to Taiwan where he bagan to teach at the National Taiwan Normal University. He developed a textbook on printmaking, The Art of Printmaking, which is still the Bible of printmaking techniques in Asia. He later taught in Tokyo and the US. In the 1990s, he spent time in mainland China teaching western printmaking techniques and spreading an enthusiasm for the medium. Liao’s wife unforeseen death in 2002 inspired his Dreams series where he conveys the duality of yin and yang, life and death, through images of outstretched hands and ghost money.
During his career, Liao Shiou-ping has held more than 70 solo exhibitions in New York, Paris, Tokyo and many other cities around the world. His work can be found in the following permanent collections:
The British Museum
The Metropolitan Museum of Art in New York
the National Museum of Modern Art(Tokyo)
Taipei Fine Arts Museum
The Shanghai Museum
Awards:
Recipient of the Nation Cultural Award and National Award for Arts, earning the title of “father of modern Taiwanese printmaking” for his outstanding artistic achievements.
Co-Founder of the Prix de Paris fund to provide support for young artists to study abroad.
The name Shiou-Ping Liao is practically synonymous with printmaking in Taiwan. Dedicated to promoting modern Taiwanese printmaking, Liao has made significant contributions to the development of modern printmaking in Taiwan and China. Liao’s art education started at the National Taiwan Normal University. In 1959, he moved to Tokyo, Japan to study at the Tokyo University of Education (now the University of Tsukuba), and then moved to paris France to study at the Fine Arts Institute of Paris, and Atelier 17. He studied painting, graphic design and printmaking. When he was in Paris, one of his instructors pushed him to find his own style, and he began to explore his Asian roots as a source of inspiration. He drew on memories of the candles, incense and ghost money from Longshan Temple for much of his later work. In the late 1960s he loved to New York where he developed his Symbols series, inspired by Taiwanese culture. Liao believed that “an artist’s style reflects the rhythms of the society that he lives in.”
Liao has devoted himself to creative expression and exploration, developing visual art to express the character, customs, faith, and lifestyles of his people. Liao’s work incorporates Asian sensibilities with a strong graphic design. It is work full of personal symbols and rich in Eastern art colors like red, gold and black; describing a longing for harmony, balance and beauty. He has found a way to bridge Eastern and Western ideas, techniques, and formats, creating a series of works of unique symbols which derive from inscriptions on ancient bronze, drawings of antique ceramics, and Chinese religious, folklore art and gates which reflect secular and divine connections.
In the mid 1970s, Liao returned to Taiwan where he bagan to teach at the National Taiwan Normal University. He developed a textbook on printmaking, The Art of Printmaking, which is still the Bible of printmaking techniques in Asia. He later taught in Tokyo and the US. In the 1990s, he spent time in mainland China teaching western printmaking techniques and spreading an enthusiasm for the medium. Liao’s wife unforeseen death in 2002 inspired his Dreams series where he conveys the duality of yin and yang, life and death, through images of outstretched hands and ghost money.
During his career, Liao Shiou-ping has held more than 70 solo exhibitions in New York, Paris, Tokyo and many other cities around the world. His work can be found in the following permanent collections:
The British Museum
The Metropolitan Museum of Art in New York
the National Museum of Modern Art(Tokyo)
Taipei Fine Arts Museum
The Shanghai Museum
Awards:
Recipient of the Nation Cultural Award and National Award for Arts, earning the title of “father of modern Taiwanese printmaking” for his outstanding artistic achievements.
Co-Founder of the Prix de Paris fund to provide support for young artists to study abroad.
Labels:
Atelier 17,
gates,
Longshan Temple,
Paris,
Taiwan,
Tokyo
Friday, November 9, 2012
Manuel Rodriguez, Sr.: Father of Contemporary Philippine Printmaking
Manuel Rodriguez, Sr, a.k.a. Mang Maning, is a pioneer in the Philippines’
graphic arts movement. He turned 100 last year and continues to make art and
spread the word about what has become his true passion – printmaking. Rodriguez
said, “I have to fulfill something but I
don’t know what, but I think I will just continue, then I will know when it’s
time to go.”
Rodriguez was born in Cibu in 1912. His
father was an engraver and goldsmith for liturgical vestments and church
ornaments. Rodriguez left Cibu in 1935 and moved to Manila to attend the University of the Philippines School of Fine Arts, where
he was mentored by Philippine artists Toribio
Herrera, Fernando and Pablo Amorsolo, Fabian
de la Rosa, and Ramon Peralta.
In the 1930s Rodriguez was first introduced to the art of
printmaking and in 1948 he spent a lot of his time reproducing his paintings
via screen printing methods. Rodriguez began to really experiment with printmaking in the 1950s,
making greeting cards of rural
Philippine life.
He left the Philippines in the 1960s for New York to pursue a Rockefeller
printmaking scholarship at the prestigious Pratt Graphic Center. It was during
1960-62 that Rodriguez worked in the print department of the Museum of Modern Art,
after which he repeatedly visited the famed Atelier
17 in Paris, run by British artist and teacher Stanley William Hayter. Here he met
with other printmakers Mauricio Lasansky, Gabor Peterdi, and Michael
Ponce de Leon and his works developed into an abstract imagery
which defined his particular style.
When Rodriguez
returned to his native country, he
taught and established printmaking departments at UST and PWU, where he brought with him all the knowledge he’d learned from the US;
teaching younger artists about printmaking and spreading the word and interest
in it so much that it grew to become popular at a time when experts thought
printmaking was a ‘dead art’. In 1962, he opened the Contemporary Arts
Gallery for graphic artists and sold his students’ work. Printmaking changed the course of his career, and his influence was felt mostly between the 1950s to the 1970s.
Eventually, Rodriguez moved back to the United States in the 1970s
and settled in New York. His enthusiasm for printmaking has known no bounds. He continues
to teach and give workshops. He says, “First, I learned what is art and then I
learned what is printmaking, so I want in my life to fulfill the purpose, to
explain, or to teach, everyone or to start a school where you can learn what is
art.” We can only hope the enthusiasm he has felt continues to inspire
young artists everywhere…..
Founder
of “Interarts” multi-media foundation for the arts
Founder
of the Philippine Association of Printmakers
1st
Filipino artist and printmaker to represent the Philippines in International
biennial exhibitions.
2007 - Presidential Merit Award, for his
contribution to the visual arts
1991
- University of the Philippines Alumni Association of New York Achievement
Award
1988
- Bruna P. Seril Advancement of Philippine Cultural Award
1979
- Patnubay ng Kalinangan Award
1975
- Lingkod Bayan Award
1967
- National Heritage Award, the Philippines
1963
- Honorary Professorship, University of Florence, Italy
Selected
Exhibitions:
1983 - the Museum of Philippine Art, Manila, Ph
1968 - Pacific Culture Museum, Pasadena, CA
1977 - the Milwaukee Public Library, WI
1964 - Sao Paolo Biennale, Brazil
1965 - Indian Triennale, New Delhi
1965 - Tokyo Biennale, Japan
1968 & ’69 - Yugoslavia Biennale
1981
- Intl Media Studies Foundation, NY
1982
- World Bank, Washington, DC
1962
- Best Graphic Art award, AAP
Education:
1939 BFA, University of the Philippines, Manila,
Ph.
1940-41 Architecture studies, Mapua University, Ph.
1945-46 Architectural Draughtsman Certificate.
Central Institute of Technology Foundation,
Manila, Ph.
1960-62 Rockefeller Scholarship – printmaking. Pratt Graphic
Center, NY
Friday, May 11, 2012
Gabor Peterdi's Call to Nature
Hungarian born Gabor Peterdi (1915-2001) has been known to thousands of printmakers, and is widely considered one of the great innovators of the print medium in the 20thc. Born in Pestujhely, Peterdi's parent sent him to study art at the Hungarian Academy of Fine Arts at the age of 15. He won a Prix de Rome and studied there a year before heading to Paris and studying at the Academie Julian. He then spent six years studying engraving with the American-born master printmaker Stanley William Hayter at Atelier 17 before emigrating to New York City in 1939.
Once Peterdi came to the US, he served in the Army in Europe during World War II, and then came back to New York work with Hayter, who had since moved there. He went on to teach at the Honolulu Academy of Art, the Brooklyn Museum School of Art, Hunter College, and at the prestigious Yale School of Art. His book on printmaking, ''Printmaking: Methods Old and New,'' has been used worldwide as the definitive textbook for printmaking courses.
Although Peterdi was in New York when Abstract Expressionism reigned supreme, he chose to emphasize his love for nature.The majority of his work is abstracted, but his themes revolve around man, nature and their interrelationships. This particular group of images selected for this article speak to his interest in natural forms, and the coloration reminds one of flowers,birds, bushes and an infusion of light streaming through trees. The image above calls to some horizon where the sun never stops shining,while the last image can be seen as a stalk or stem, or even an abstracted vertebrae of some animal. The areas sourrounding it resemble sediment and excavations of things found when we start to garden; finding the treasured remnants of bones our dogs hope to keep for an afternoon of blissful gnawing. There is a form of abstracted pictographic language going on here; and it's one that if you weren't educated to know it's signs or symbols it wouldn't keep you from enjoying the images that he's placed together. There is synaptic energy going on here, and the viewer's eye moves easily throughout.
While I have certainly known of Peterdi's reputation as a great teacher, I have not seen or really known much about his work. My understanding of him, being from the Midwest and exposed indirectly to the University of Iowa influence of Mauricio Lasansky, was that his friendly Picasso/Matisse-like rivalry with Lasansky helped to establish two major printmaking programs in this country; both of which have trained scores of printmakers, teachers, curator, historians and gallerists. Their collective influence has been felt far and wide, not just in this the United States, but also having trained many printmakers worldwide. Peterdi is one of Printmaking's Elite, and the impact of him as a person, teacher and his work will continue to be felt for a very long time.
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