Jasper Johns The Critic Sees, from Ten from Leo Castelli portfolio 1967 Embossment with collage and acetate, on Rives BFK paper, with full margins, I. 3 3/4 x 6 3/8 in (9.5 x 16.2 cm); S. 24 x 20 in (61 x 50.8 cm) signed, titled, dated `67' and numbered 18/200 in pencil (there were also 15 artist's proofs), published by Tanglewood Press, New York, the palest time staining (to sheet and collage elements), otherwise in very good condition, framed.
Literature Universal Limited Art Editions 39 Artist Bio Jasper Johns American • 1930 Jasper Johns is a painter and printmaker who holds a foundational place in twentieth century art history. Quoting the evocative gestural brushstroke of the Abstract Expressionists, Johns represented common objects such as flags, targets, masks, maps and numbers: He sought to explore things "seen and not looked at, not examined" in pictorial form. Drawing from common commercial and 'readymade' objects, such as newspaper clippings, Ballantine Ale and Savarin Coffee cans, Johns was a bridge to Pop, Dada and Conceptual art movements. Beyond the historical significance, each work by Johns is individually considered in sensuous form. A curiosity of medium led him to employ a range of materials from encaustic and commercial house paint to lithography, intaglio and lead relief. View More Works
Jasper Johns The Critic Sees, from Ten from Leo Castelli portfolio 1967 Embossment with collage and acetate, on Rives BFK paper, with full margins, I. 3 3/4 x 6 3/8 in (9.5 x 16.2 cm); S. 24 x 20 in (61 x 50.8 cm) signed, titled, dated `67' and numbered 18/200 in pencil (there were also 15 artist's proofs), published by Tanglewood Press, New York, the palest time staining (to sheet and collage elements), otherwise in very good condition, framed.
Literature Universal Limited Art Editions 39 Artist Bio Jasper Johns American • 1930 Jasper Johns is a painter and printmaker who holds a foundational place in twentieth century art history. Quoting the evocative gestural brushstroke of the Abstract Expressionists, Johns represented common objects such as flags, targets, masks, maps and numbers: He sought to explore things "seen and not looked at, not examined" in pictorial form. Drawing from common commercial and 'readymade' objects, such as newspaper clippings, Ballantine Ale and Savarin Coffee cans, Johns was a bridge to Pop, Dada and Conceptual art movements. Beyond the historical significance, each work by Johns is individually considered in sensuous form. A curiosity of medium led him to employ a range of materials from encaustic and commercial house paint to lithography, intaglio and lead relief. View More Works
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