Patricia Tobacco Forrester ROYAL FLASH, Litograph, ed. 75, 1990
On 15 March, the entry of traditional printing techniques in the Federal Register of Intangible Cultural Heritage of the German UNESCO Commission will be celebrated as Printmaking Day.
On 15. In March, the entry of traditional printing techniques in the National Directory of Intangible Cultural Heritage of the German Commission for UNESCO will be celebrated as the Day of Printing.
kunstGarten participates with a show and a workshop. Limettenbäume: Geschichten und Gedanken. A workshop for the 3YHKUB/K, class Mag.a Agnes Katschner. Lime trees: stories and thoughts. A workshop for the 3YHKUB/K, class Mag.a Agnes Katschner.
The exhibition shows works by Brigitte Coudrain, Patricia Tobacco Forrester, Hildegard Joos and Helga Philipp, and is accessible until May, 11.
Brigitte Coudrain – Color etching: An aesthetic and analytical network of laws from a seen nature.
Brigitte Coudrain De Flûte, color etching on Bütten-handsigned and numbered, edition: 80, in good condition Sheet size: 50 x 33 cm / plate size: 18 x 17,5 cm
Born on October 21, 1934 in Paris, Brigitte Coudrain found her creative drive explodes in 1954 as a student of the famous Johnny Friedlaender, a pioneer of modern aquatint etching. The first exhibition of her watercolors was already in 1955. Since 1958, when she turned her focus to etching, she received invitations to the Triennale Internationale de la Gravure in Switzerland, the Biennale in Paris (award) and to numerous exhibitions in Paris, Hamburg, Copenhagen, Berlin, Jerusalem, Krakow, Tokyo, Chicago and New York, where she spent a long time. In 1974 she was awarded the Jury Prize at the Biennale Européenne de la Gravure, Mulhouse.
Brigitte Coudrain has naturally always had a unique relationship to nature, and to its plants and their healing powers through her parents’ pharmacy. Through her nature studies, she captures special formative peculiarities, designs her plants, like an architect plans a house. She transposes the components to new levels of consciousness and creates with her Å’vre not only a unique form of discussion and representation but also a dialogue between the subject, the performer and also the viewers. In repeated occupation with the same subject and its dissolution into its various components, the richness of the individual structure becomes visible, analyzed by the precision of the lines in the etching and thus repeated in different formats. A continuity of discoveries and inspirations is brought to the viewers and enables an essential insight: mechanisms and laws of nature hide and reveal clues to make a life worth living and meaningful. A network of art and science in subjective consideration will create the social and cultural sphere that man is ape able to form from his nature.
A Massachusetts native, Patricia Tobacco Forrester (1940-2011) received her B.A. from Smith College (Phi Beta Kappa) in 1962 and her B.F.A. in 1963 and M.F.A. in 1965, both from Yale University. She was awarded a prestigious Guggenheim Foundation Fellowship in 1967. The artist’s critically acclaimed watercolors are painted directly from nature, often on very large scale sheets of up to 40 x 60″ paper. Her subject matter is primarily trees and flowers against a dramatic landscape vista, painted with an intuitive, lush, expressive sensibility.
The artist travels to exotic locales many months of the year, though her home base has been Washington, DC, since 1982. From the mid-sixties to 1981 she lived in San Francisco and she often returns to the region to paint the rocky coast of Santa Barbara or the rolling vineyards of the Napa Valley. She spends her winters painting in warmer climes, often island hopping in the Caribbean and traveling throughout Central and South America, as well as occasional sojourns in France and the Mediterranean.
Forrester accepted the invitation to become a member of the National Academy of Design in New York in 1992. Her work has been shown widely in hundreds of museum and gallery exhibitions across the United States and abroad for over thirty-five years. Numerous major museums own her paintings and prints, including the Art Institute of Chicago, British Museum, London, Brooklyn Museum, Fine Arts Museums of San Francisco, Indianapolis Museum of Art, Library of Congress, National Academy of Design, Oakland Museum, Yale University Art Gallery, and the National Museum of Women in the Arts, the Smithsonian American Art Museum, the Corcoran Gallery of Art, and The White House, Executive Office Building in Washington, DC.
Steven Scott Gallery has been honored to represent the artist since its opening in 1988. Solo shows of Forrester’s watercolors and lithographs were mounted in 1992, 1997 and 2005. A color brochure is available upon request. Forrester is the recipient of a 2005 Artist Grant from the DC Commission on Arts and Humanities.
Upon the artist’s death in March 2011, Forrester bequeathed the remaining major watercolors in her estate to seven major museums across the United States. She chose these museums since they featured her work often during her lifetime in major exhibitions. The selected museums are:
- National Museum of Women in Art, Washington, DC
- Smithsonian American Art Museum, Washington, DC
- Corcoran Gallery of Art, Washington, DC (now transferred to
- The National Gallery of Art, Washington, DC)
- Brooklyn Museum of Art, NY
- Denver Art Museum, CO
- Oakland Museum, California
- Art Museums of San Francisco, CA
Hildegard Joos is one of the most important artists of geometric abstraction in Austria. Her striking development spans an arc from constructivism, concrete art and op-art to the narrative geometricisms with an individual and unique vocabulary of forms, which she developed together with her collective and life partner Harold Joos at the end of the 70s.
ORIGINAL SCREEN PRINTING/Serigraphie
Bottom middle signed H+H JOOS
And numbered 1/5
45.5 x 45.5 cm
In the following period, her work proved to be an impetus for the younger generation and brought about a revision and reassessment of the geometrical formal language.
Since 1955 she was a member of the Vienna Secession, and in 1962 the first artist whose works were presented as part of a personal staff in the main room. Another three solo exhibitions followed there in 1962, 1967 and 1980. Since the late 1950s, she maintained a studio in Paris and caused a stir in 1960 with her large white paintings.
She participated in the international development of geometric abstraction and in numerous exhibitions, such as the “Salon des Indépendants” and the “Salon des Réalités Nouvelles” in Paris. In 2001, she participated in the Salon d´Automne in Paris with the next generation of Austrian artists, including Herbert Brandl, Christian L. Attersee, Gunter Damisch and Muntean-Rosenblum. Numerous museums such as the Austrian Gallery Belvedere, the Lower Austrian State Museum, the MUMOK, Albertina Museum, as well as the Lentos Linz, the Museum Liaunig, Artothek des Bundes, among others, dedicated solo exhibitions to her or honored her art through purchases.
Helga Philipp, Kinetisches Objekt um 1963, Siebdruck
Born in Vienna in 1939, Helga Philipp is rightly considered a pioneer of concrete art and op-art in Austria. With her diverse work, she has tracked down the fields of concrete and constructive tendencies, especially in Europe but also in the USA, and implemented them in her own works. Fundamental to the concrete art of the sixties in Austria was also the radical ideas of the departure of the departure from the figurative tendencies of expressionism. The development of constructive, concrete art in Austria is closely linked to the artist movement Neue Tendenzen in the Croatian capital Zagreb, which organized pioneering artist meetings and exhibitions in the sixties and seventies, in which Helga Philipp participates. For them and other artists of the movement, the question of the role of the viewer and his perception as well as the investigation of the characteristics of the surfaces and structures of works of art are the focus. In the sense of concrete art and also of op art, the objectivity is increasingly disappearing from the works of the artists.
Helga Philipp completed an apprenticeship as a sculptor in Vienna and was already an important member of the Viennese art scene in the sixties. During this time she designed a series of kinetic objects that can be attributed to op art, later Helga Philipp experiments with screen printing graphics based on a circular grister.
Graphics made of cardboard rings, which are covered with a graphite layer, and embossing with circular motifs were created in the early seventies. In the second half of the seventies, Helga Philipp finally came to the line from the circular motif, which she first executed in embossed printing, then in several rows of graphics on handmade paper in graphite.
In the eighties and nineties, starting with “Domino”, those paintings in black and gray tones so characteristic for Helga Philipp and further series of graphic works were created. In later works, especially in those blue-black paintings designed around the year 2000, she increasingly deals with the dynamics and weighting of contrasting color surfaces. Many of Helga Philipp’s works also examine the possibilities of light reflection – through the use of metal, silver paper, a water surface or the structure of the applied paint made of graphite and aluminum pigment.