Additional Material

 

Elizabeth Catlett (American, 1915-2012)

April 27th, 2015

We are proud to share here an important bronze, El Canto, 1968.  Catlett has taken cues from traditional West African sculpture while creating an iconic, Modern work.  Her works impress with the strength of her formal approach yet Catlett was more interested in the social power they convey: “I have always wanted my art to service my people — to reflect us, to relate to us, to stimulate us, to make us aware of our potential.”

The singer, or singing head is a theme Catlett returned to over the course of her long career.  Elizabeth Catlett ranks among America’s most respected sculptors.  A related work in marble is in the collection of the Smithsonian American Art Museum.

Elizabeth Catlett, El Canto 1968, bronze

El Canto 1968, bronze

Elizabeth Catlett, El Canto 1968, bronze

El Canto 1968, bronze

Elizabeth Catlett, El Canto 1968, bronze

El Canto 1968, bronze

Elizabeth Catlett, El Canto 1968, bronze

El Canto 1968, bronze

Elizabeth Catlett, El Canto 1968, bronze

El Canto 1968, bronze

Elizabeth Catlett, El Canto 1968, bronze

El Canto 1968, bronze

Elizabeth Catlett, El Canto 1968, bronze

El Canto 1968, bronze

 

New works by Donald Forsythe

February 8th, 2015

Donald kindly provided the following statement about this excellent new series of unique prints:

These recent prints are the result of experimentation carried out over the last two years with processes that have been dubbed low tech methods. The layers have been printed from found plywood, re-purposed Plexiglas plates, and wood reliefs drawn with shop tools like the Dremmel engraver, ball grinders, and the plunge router. I became particularly interested in reflective mylar collographs layered to resemble open bitten etching plates, and enjoy the painterly effects rendered from tarlatan wiping and the transparency of the printed surface.

Beyond these processes, I think of these works as a kind of cumulative interior architecture.  To me they suggest memory, travel, and the passage of time; fragility, brokenness, and the will to order things—to make meaning out of experience.

We are happy to show you the rest of the group.  Call to visit 215-732-7787 or email info@DolanMaxwell.com for images.

Interior/Exterior; Interior #1; Interior #4

Interior/Exterior; Interior #1; Interior #4

 

 

John Wilson, 1922-2015

January 27th, 2015

Sculptor, painter and print maker John Wilson passed away on January 26.  Wilson made his life in Boston, graduating from graduating the School of the Museum of Fine Arts, Boston with highest honors  in 1945 and received a bachelor’s degree in education from Tufts University in 1947.  With a traveling on fellowship from the School of the MFA, Boston, Wilson studied with Ferdinand Leger in Paris.  In 1950, a John Hay Whitney Fellowship took him to Mexico where he pursued his interest in  mural making.  His 1986 bronze bust of Martin Luther King stands in the Capitol Rotunda in Washington, DC.  The Boston Globe quotes his wife, Julie: “Essentially, he felt that his main objective as an artist was to deliver a message to people about black dignity, about racial justice, about poor people trying to get a better deal in life.”

We are honored to share 2 important lithographs, Dialogue, 1955 and Urbanites, 1964 by the excellent John Wilson

John Wilson Dialogue 1955, lithograph

Dialogue 1955, lithograph

John WIlson Urbanites 1964, lithograph

Urbanites 1964, lithograph

 

An important abstraction by Alma Thomas

January 15th, 2015

We are pleased to offer this important painting by Washington Color Field artist, Alma Thomas (1891-1978).  Thomas was born in Columbus Georgia and moved to Washington DC with her family n 1907.  In 1924 she became the first graduate of the Art Department at Howard University, and in 1935 received a Master of Arts in art Education from Columbia University.  Her work is held in the permanent collections of the Columbus Museum of Art, the Corcoran Gallery of Art, the Baltimore Museum of Art, the National Gallery of Art, the Howard University Gallery of Art, the Philadelphia Museum of Art, The Phillips Collection, the Smithsonian American Art Museum, the Hirshhorn Museum and the Whitney Museum of American art.  Our painting was made in 1972 and shimmers with carefully modulated color.  Please be in touch if you’d like to know more.

 

Alma Thomas Untitled 1972, acrylic on paper

Untitled 1972, acrylic on paper

Large scale drawings by Michael Canning

November 28th, 2014

We have just received two monumental works on paper by Michael CanningUntitled II, 2012 is a powerful work standing tall at 85 x 58 1/2″ inches.  Juxtaposed against the vast space Canning creates with conventional perspective techniques a frail but strong plant flowers in bright, hopeful contrast to the deepening sky.  The ground from which it grows is a sooty black and the paper on which all this happens is a collage of worked and reworked surfaces.   We will show this and another of the same scale at INK Art Fair, Miami Beach

Michael Canning, Untitled II 2012, soot, charcoal, acrylic, ink  on paper

Untitled II 2012

A rare work by Raymond Steth

October 18th, 2014

Heaven on a Mule c . 1940 is one of Raymond Steth’s best loved works.  Steth depicts a deeply moving narrative of a devout African American farmer and his family.   This poignant image was taken from a folk tale showing a poor family standing on a hill wearing cloth wings in the hope of being taken to heaven.  They’ve brought their few possessions and have made wings for their mule and dog. Steth rewards them with ghost-like angels.  Steth’s work was rediscovered in the landmark 1993 exhibition and catalogue, Alone in a Crowd, which was organized by David and Reba Williams  to share their thoroughly researched collection of prints by African American artists.  The exhibition traveled throughout the USA and brought about new appreciation for an important group of artists who’d been largely forgotten.  We are very pleased to offer this excellent work by a master storyteller.

Raymond Steth, Heaven on a Mule c. 1940 lithograph

Heaven on a Mule

Norman Lewis in the 1950s

September 11th, 2014

We are pleased offer 2 important works on paper made in the late 1950s by Norman Lewis, (American, 1909-1979).   He studied at Columbia University and found work during the Great Depression with the WPA at Harlem Art Center.

Norman_Lewis-Abstration  c. 1957. watercolor & ink on paper

Norman_Lewis-Abstration c. 1957. watercolor & ink on paper

Norman Lewis Figures 1957 ink & oil on paper

Norman Lewis Figures 1957 ink & oil on paper

Lewis exhibited at the seminal Willard Gallery in New York City from 1946- 1964.  He was part the Studio 35 sessions–closed door meetings led by MOMA’s Alfred J Barr Jr, which helped define the Abstract Expressionist movement.  He exhibited with the Abstract American Artists group and was included in MOMA’s 1951 exhibition, “Abstract Painting and Sculpture in America”.

 

Early David Driskell watercolor

August 13th, 2014

We are pleased to share a very beautiful, early watercolor by renowned master painter, printmaker and curator, David Driskell Colorado Scape, 1960.  was made while Driskell was pursuing a MFA at Catholic University of America in Washington, DC.   The strong, clear colors and the abstracted landscape of this important work indicate Driskell’s early predisposition toward European modernism.  The paintings and prints of this era explore nature–trees in particular as a means of understanding abstract form.  With Colorado Scape Driskell creates a very satisfying overall intensity, fluid and aggressive line balanced by deeply saturated color.

David Driskell Colorado Scape 1960  watercolor

David Driskell
Colorado Scape 1960 watercolor

Letterio Calapai’s 1946 Underground

July 24th, 2014
Letterio Calapai Underground, 1946

Letterio Calapai Underground, 1946

Underground by Letterio Calapai (1902-1993) is a dynamic work that shows a keen awareness in the methods of Stanley William Hayter’s Atelier 17, incorporating a combination of engraving, soft ground and aquatint techniques.  Calapai’s vivid reaction to the crush of people commuting on the subway at 42nd Street is well matched to the rich surfaces and charged engraved lines.  The subject brings to mind the social realist works of the WPA prints of the 1930s which Calapai knew first hand from his work in the New York print shop.  It is also interesting to consider this work in the context of Benton Spruance’s 1937 series of lithographs, The People Work.  Views to multiple levels of trains and spaces bring to mind the imagined 18th Century interior Prison etchings of Giovanni Battista Piranesi.  In Calapai’s hands the space is flattened out, and a sense of folded space is created by forced angles.  We are above and below the action, seeing it all simultaneously.

 

Red Music by Michael Canning

May 8th, 2014
Michael Canning, Red Music, 2014, ink, acrylic, soot, charcoal, graphite & collage, 48 x 36"

Red Music, 2014

We are very pleased to share an image of Red Music, Michael Canning’s new drawing that incorporates charcoal, soot, ink, acrylic paint, graphite & collage elements.  The scale is grand at 48 x 36″ and Michael matches the fragile and yet defiant beauty of this flowering plant with his rugged, almost brutal treatment of the paper and chosen materials.