After Botticelli IV
After Botticelli IV
Image/plate size: 9 x 11 7/8 inches (22.9 x 30.2 cm)
Paper size: 27 1/4 x 21 inches (69.2 x 53.3 cm)
Frame size: 31 3/4 x 25 7/8 inches (80.6 x 65.7 cm)
Edition of 45
Signed ‘B. Marden’, numbered and dated lower center in graphite
(Inventory #25675)
“It’s about touch and it’s about feeling and it’s very direct.”
Brice Marden
Since 1961 when a student at Boston University, Brice Marden has worked with etching. He has utilized line etching, sugarlift, aquatint and a myriad of other techniques. The two works by Marden included in “Woven” were made twenty years apart (1992 and 2012) and while there is a strong change within the overall structure of marks, a consistency reigns. The process of making a print – wiping, scraping, acid-etching, etc. as well as deciding how big and what paper to print upon – are all used by Marden to create a dynamic, sensitive, and quiet situation for contemplation. Simultaneous to this, he shows that the power of all the marks comes from their contingency to other marks. Compare, contrast, push, pull, and support are just some of the formal actions that Marden’s lines, planes and spaces do to and with each other.
Information Request
Information Request (Inquiry)
Image/plate size: 9 x 11 7/8 inches (22.9 x 30.2 cm)
Paper size: 27 1/4 x 21 inches (69.2 x 53.3 cm)
Frame size: 31 3/4 x 25 7/8 inches (80.6 x 65.7 cm)
Edition of 45
Signed ‘B. Marden’, numbered and dated lower center in graphite
(Inventory #25675)
“It’s about touch and it’s about feeling and it’s very direct.”
Brice Marden
Since 1961 when a student at Boston University, Brice Marden has worked with etching. He has utilized line etching, sugarlift, aquatint and a myriad of other techniques. The two works by Marden included in “Woven” were made twenty years apart (1992 and 2012) and while there is a strong change within the overall structure of marks, a consistency reigns. The process of making a print – wiping, scraping, acid-etching, etc. as well as deciding how big and what paper to print upon – are all used by Marden to create a dynamic, sensitive, and quiet situation for contemplation. Simultaneous to this, he shows that the power of all the marks comes from their contingency to other marks. Compare, contrast, push, pull, and support are just some of the formal actions that Marden’s lines, planes and spaces do to and with each other.
Image/plate size: 9 x 11 7/8 inches (22.9 x 30.2 cm)
Paper size: 27 1/4 x 21 inches (69.2 x 53.3 cm)
Frame size: 31 3/4 x 25 7/8 inches (80.6 x 65.7 cm)
Edition of 45
Signed ‘B. Marden’, numbered and dated lower center in graphite
(Inventory #25675)
“It’s about touch and it’s about feeling and it’s very direct.”
Brice Marden
Since 1961 when a student at Boston University, Brice Marden has worked with etching. He has utilized line etching, sugarlift, aquatint and a myriad of other techniques. The two works by Marden included in “Woven” were made twenty years apart (1992 and 2012) and while there is a strong change within the overall structure of marks, a consistency reigns. The process of making a print – wiping, scraping, acid-etching, etc. as well as deciding how big and what paper to print upon – are all used by Marden to create a dynamic, sensitive, and quiet situation for contemplation. Simultaneous to this, he shows that the power of all the marks comes from their contingency to other marks. Compare, contrast, push, pull, and support are just some of the formal actions that Marden’s lines, planes and spaces do to and with each other.
