.

Facebooktwitterlinkedintumblr

JUNE WAYNE 1918 – 2011

JUNE WAYNE The Sanctified
The Sanctified
JUNE WAYNE The Hero - Kafka Series
The Hero – Kafka Series
JUNE WAYNE Shine Here to us and thou art everywhere
Shine Here to us and thou art everywhere
JUNE WAYNE The Dreamers
The Dreamers

When June Wayne arrived in Los Angeles in the mid-1940s, she sought to refine her technique with Lynton Kistler at his established lithography workshop. She created multiple prints in the late 1940s, liked what she saw and continued making her lithographs there until 1957 when she and Kistler ‘agreed to disagree’.

She went to Paris to work with Serge Lozingot at the Marcel Durassier studios resulting in the creation of her “John Donne” portfolio. Her innovations on the lithograph stone ‘made history’. In 1960 she returned to Los Angeles and found sponsorship from the Ford Foundation to open her Tamarind Lithography Workshop. The Tamarind’s goal was to encourage artists to understand the symbiotic relationship between a collaborative printer with the creative artist. She successfully brought renowned artists to share her passion for the lithographic technique.

Other images available in the “backroom”
Please Click on the Image for more information.

STANTON MACDONALD-WRIGHT

1890-1973

‘Privileged’ Stan Wright sought great heights through art at the Art Students League in Los Angeles – and then went to Paris at age 17; there he and Morgan Russell explored and pronounced ‘Synchromism’ in 1909/10 as an aesthetic philosophy of color perception – Modernism.

When the War dictated an exodus from Europe in 1916, he briefly joined his brother in New York City but, in 1919, returned to Los Angeles, rejoined the Art Students League and took a position of leadership. In 1923, Stanton Macdonald Wright organized a landmark exhibition: ”The Group of Independent Artists” uniting Los Angeles artists with his friends Thomas Hart Benton and Morgan Russell with Nick Brigante and other Californians for a path to Modernism.

STANTON MACDONALD-WRIGHT Portrait with Pipe
Portrait with Pipe

From the mid-1920s through the 1930s, he turned to subjective composition – figurative sketches, portraits, (note  Portrait with Pipe, c.1931) landscapes – combining cubistic and synchromist elements in his personal art and as director of the mural division within the Southern California WPA/FAP 1934 until its close in 1941.

That cubistic figuration is evident in Still Life with Chinese Lute
and Abstract Still Life, both of 1945.

 

STANTON MACDONALD-WRIGHT Still Life with Chinese Lute
Still Life with Chinese Lute
STANTON MACDONALD-WRIGHT Abstract Still Life
Abstract Still Life

 

 

 

 

 

 

Between 1942 and 1954 he was a professor at UCLA, but at every opportunity he traveled to Japan following his interests in Cubism, Zen Buddhism …and reaffirmed his earlier Synchromist color theories. He combined the light and landscape of southern California with that of Japan in his art, as seen in the Haiga Portfolio of color woodcuts created in Kyoto with master printer Clifford Karhu in 1966-67.

After Issa: Stony River rippling, lightning flickering from: Haiga Portfolio
After Issa: Stony River rippling, lightning flickering from: Haiga Portfolio

In Los Angeles, he also made lithographs with Lynton Kistler, as seen in ‘Battle of the Amazons’ of 1972 – just a year before his death.

 

STANTON MACDONALD WRIGHT was an intellectual image, an artist, an administrator, an art historian, a teacher and a leader within the Los Angeles modernist community and world art history.

 

 

Other images available in the “backroom”

Please Click on the Image for more information.

Eugene Berman

spent fruitful years of 1949/1952 in Hollywood, working in the movie industry AND at Lynton Kistler’s studio workshop. While designing backdrops and stage settings, he drew lithographs recreating Italy’s ancient buildings, often printing on varied colored paper to evoke atmospheric times of day and night.

EUGENE BERMAN Nocturnal Cathedral blue
Nocturnal Cathedral blue
EUGENE BERMAN Nocturnal Cathedral
Nocturnal Cathedral
EUGENE BERMAN Nocturnal Cathedral on white paper
Nocturnal Cathedral white
EUGENE BERMAN Pisan Fantasy
Pisan Fantasy
EUGENE BERMAN Pisan Fantasy
Pisan Fantasy blue
EUGENE BERMAN Pisan Fantasy yellow
Pisan Fantasy yellow
EUGENE BERMAN Pisan Fantasy green
Pisan Fantasy green
EUGENE BERMAN Appian Way
Appian Way
EUGENE BERMAN Appian Way
Appian Way white
EUGENE BERMAN Flaming Column
Flaming Column
EUGENE BERMAN-Verona
Verona
Please Click on the Image for more information.

JEAN CHARLOT 1898 – 1979

In the late 1920s, Jean Charlot printed a few lithographs with George Miller in New York. But, when Miller balked at working with color and multiple printing stones, Merle Armitage – impresario, connector – stepped in; he connected Jean Charlot with Lynton Kistler in Los Angeles!

Charlot made his first color lithograph with Kistler in 1930. This was a collaboration that lasted throughout their lives.

JEAN CHARLOT Little Seamstress
Little Seamstress
JEAN CHARLOT Kei Viti: Vaka tagi Derua (Musical Bamboo)
Kei Viti: Vaka tagi Derua (Musical Bamboo)
JEAN CHARLOT Bathers
Bathers
JEAN CHARLOT Woman Standing
Woman Standing
JEAN CHARLOT Fiesta Head Dress
Fiesta Head Dress
JEAN CHARLOT Indian Man
Indian Man
JEAN CHARLOT Dark Madonna
Dark Madonna
Please Click on the Image for more information.

AMERICA THE BEAUTIFUL

The America has not always been ‘Beautiful’; developing transportation and communications, educational outreach, country wide migration and financial strains were taking place. War loomed.. 1930s, ‘40s, ‘50s, ..even today. Through art, we see through the artists’ eyes.

BETYE SAAR The Couple
BETYE SAAR The Couple
DAVID P. LEVINE Burned Out
DAVID P. LEVINE Burned Out
HERMAN KOFI BAILEY Girl Reading
HERMAN KOFI BAILEY Girl Reading
HERMAN KOFI BAILEY Homework
HERMAN KOFI BAILEY Homework
FRANK E. ROMERO The Closing of Whittier Blvd
FRANK E. ROMERO The Closing of Whittier Blvd

 

NICHOLAS P. BRIGANTE Peppertree - Elysian Park
NICHOLAS P. BRIGANTE
Peppertree – Elysian Park
DAVID P. LEVINE Subway Riders
DAVID P. LEVINE Subway Riders
Please Click on the Image for more information.

JOHN ALTOON
Los Angeles 1925 – 1969 Los Angeles

John Altoon’s imagery scandalized, delighted, mystified………which he relished with great satisfaction and glee!

After attending the Art Center College of Design, Chouinard Art Institute and Otis Art Institute, he moved to New York in 1950, which proved to be a catalyst for his creativity. While working as a commercial illustrator, he absorbed Absract Expressionism and the art ‘scene’.

In the 1960s, he returned to LA, revealing his exposure to AbEx and joined his pals Craig Kauffman, Ed Moses and Ed Ruscha. in exhibiting his paintings at the Ferus Gallery. History!

…AND he also accepted June Wayne’s invitation to make a series of lithographs at her Tamarind Lithography Workshop. Yes! WOMEN/WOMAN was his focus – as you can see from this collection of individual Tamarind lithographs AND the full suite “About Women”.

JOHN ALTOON Untitled-T1330
Untitled-T1330
JOHN ALTOON Untitled - T.2183
Untitled – T.2183
JOHN ALTOON Untitled T.2180
Untitled T.2180
JOHN ALTOON About Women A
About Women A
JOHN ALTOON About Women D
About Women D
Please Click on the Image for more information.

Mexico 1930s

Between 1920 and 1940, Mexico experienced heightened political activities, as reflected in prints made at the Taller de Grafica Popular – TGP – the Workshop of the Peoples Graphics. We look through the eyes of those artists at the ‘local’ scenes.

ANGEL BRACHO War_Never_Again
ANGEL BRACHO War_Never_Again
LEOPOLDO MENDEZ Bandito
LEOPOLDO MENDEZ Bandito
MARIANNE/MARIANA YAMPOLSKY Two Sleeping Children
MARIANNE/MARIANA YAMPOLSKY Two Sleeping Children
Among the early members of the TGP were Leopoldo Mendez, Marianne Yampolsky, Angel Bracho and David Alfaro Siqueiros.
DAVID ALFARO SIQUEIROS (Outstretched Hands)
DAVID ALFARO SIQUEIROS (Outstretched Hands)
DAVID ALFARO SIQUEIROS Outstretched Hands
DAVID ALFARO SIQUEIROS Outstretched Hands
Please Click on the Image for more information.

DAVID P. LEVINE (1910-2005)

DAVID P. LEVINE’s paintings show the Depression years of the mid-1930s in Pasadena/Los Angeles environs.

Left the University of Southern California in 1932 to , he study at the Los Angeles Art Center School of Design with Barse Miller and Fletcher Martin. Soon after he graduated from Art Center in 1936, he went to New York and painted “Subway Riders”; by 1937 he’d had enough of that heady scene and returned to Los Angeles! This work of the 1930s focused upon people and social commentary.

In 1940, Levine and his wife, Florence, traveled to Mexico where he painted and refined his print techniques. He also drew inspiration from the ‘Greats of Mexico’ – Orozco, Rivera, Siqueiros.

The Levines returned to California and the ‘draft’ in 1941 at the outbreak of World War II. During the war, Levine worked as a technical artist for aircraft companies.

Among the many museums and galleries where Levine’s work has been exhibited are: The Carnegie Institute, Pittsburgh; Los Angeles County Museum of Art; Laguna Art Museum; San Francisco Museum of Art; Santa Barbara Museum of Art; Oakland Museum of Art; Phoenix Art Museum; New Orleans Museum of Art; and the Museo de Monterrey, Mexico. In 1993, Yale University included Levine’s Earth to Earth, a watercolor, in their exhibition of South of the Border: Mexico in the American Imagination 1914-1947. The show traveled to: Yale University Art Gallery, Phoenix Art Museum, New Orleans Museum of Art and Museo de Monterrey, Mexico.

DAVID P. LEVINE Playyard (10th St. Roof Gardens)
Playyard (10th St. Roof Gardens)
DAVID P. LEVINE East L.A. Enclave
East L.A. Enclave
DAVID P. LEVINE The Factory Gate
The Factory Gate
DAVID P. LEVINE Skylights and Rooftops
Skylights and Rooftops
Please Click on the Image for more information.

PAUL LANDACRE
July 9 1893 – June 3 1963

An outstanding woodengraver in the United States, as acknowledged by Rockwell Kent and Lynd Ward. Landacre’s linocuts and wood engravings are celebrated for their technical virtuosity and mastery of design.

Landacre taught himself the art of printmaking on a Washington hand press, carving linoleum blocks and woodblocks for both wood engravings and woodcuts. In about 1928 he met Jake Zeitlin, antiquarian book dealer; Zeitlin mounted Landacre’s first significant solo exhibition in 1930. In 1935 and 1936 for local radio station KECA, Landacre illustrated monthly programs with woodengraved portraits of classical composers.

Elected a member of the National Academy in 1946, Landacre was honored in 1947 with a solo exhibition of his wood engravings at the Smithsonian Museum of American Art.

His prints, earned early and lasting critical recognition and prizes.

Please Click on the Image for more information.

EMERSON WOELFFER 1914-2003

Woelffer’s art career began at the Art Institute of Chicago School in 1933; he felt influences of the new Chicago Bauhaus under Moholy-Nagy,the WPA/FAP and Jazz. In 1954, Woelffer moved to the Colorado Springs Fine Arts Center to work with renowned printer Laurence Barrett. Then he shifted to Los Angeles in 1960 to teach at the Chouinard Art Institute while also accepting fellowships at Tamarind Lithography Workshop in 1961 and 1970.

Woelffer liked spontaneity,surrealist automatism and primitivism, vigorous gestures, torn edges, simulated and real. He progressed steadily towards simplification.

EMERSON WOELFFER Lips
Lips
EMERSON WOELFFER Head
Head
EMERSON WOELFFER Two Figures
Two Figures
Please Click on the Image for more information.

Tina Modotti (Italy,1896-1942, Moscow)
Photographer, model and revolutionary political activist.

Born in Austria, she immigrated to the United States, at the age of 16 in 1909, to join her father in San Francisco. In 1923, Modotti moved to Mexico City with Edward Weston.In Mexico, Modotti found a community of the culturally and politically avant guard. She became the photographer of choice for the blossoming Mexican mural movement, documenting the works of José Clemente Orozco and Diego Rivera and others. All of these silverprints from her studio in Mexico City document these murals and identifies their schools, public centers and university locations.

TINA MODOTTI Jose Clemente Orozco – Drawing for lithograph
Jose Clemente Orozco – Drawing for lithograph
TINA MODOTTI Jose Clemente Orozco, St. Francis
Jose Clemente Orozco, St. Francis
Diego Rivera,Fresco-Agricultural Sch,Chapingo,MX (Detail)
Diego Rivera,Fresco-Agricultural Sch,Chapingo,MX (Detail)
TINA MODOTTI Diego Rivera, Miners vs Shepherds
Diego Rivera, Miners vs Shepherds
TINA MODOTTI Diego Rivera Fresco-Agricultural Sch, Chapingo, MX
Diego Rivera Fresco-Agricultural Sch, Chapingo, MX
TINA MODOTTI Diego Rivera Fresco-Agricultural School, Chapingo
Diego Rivera Fresco-Agricultural School, Chapingo
Please Click on the Image for more information.

 

STANTON MACDONALD WRIGHT infused the color woodblock images for his Haiga Portfolio with Japanese essence under the guidance of his master printer Clifford Karhu in Kyoto.

After Shiki: A train passes, how the smoke swirls round the young leaves
After Shiki: A train passes, how the smoke swirls round the young leaves
After Issa: Naked in the rain riding a naked horse
After Issa: Naked in the rain riding a naked horse
After Issa: Oh flying butterfly I feel myself a creature of dust
After Issa: Oh flying butterfly I feel myself a creature of dust
After Shiki: In the hand of the fire fly makes a cold brilliance
After Shiki: In the hand of the fire fly makes a cold brilliance
After Chiyoni: No matter what we wear, we are beautiful when moon viewing
After Chiyoni: No matter what we wear, we are beautiful when moon viewing
Haiga Portfolio #6-On a Journey ill,my dreams wander over the withered moor
Haiga Portfolio #6-On a Journey ill,my dreams wander over the withered moor
Haiga #7-The spring sea swelling and falling all day
Haiga #7-The spring sea swelling and falling all day
Please Click on the Image for more information.