Chuck Close American, b. 1940
Janet, 1988
Reduction Block Linocut
33 x 22.13"
201904-3731
Further images
Working with an array of assistants, printmakers and publishers, Close has explored just about every conceivable type of printmaking technique, from etching, aquatint, lithography, handmade paper, direct gravure, silkscreen, traditional...
Working with an array of assistants, printmakers and publishers, Close has explored just about every conceivable type of printmaking technique, from etching, aquatint, lithography, handmade paper, direct gravure, silkscreen, traditional Japanese woodcuts to reduction linocuts, among many others. While this formal exploration has taken place, Close has stuck to the same subject throughout his career - the portrait, both the self-portrait and images of friends, family and fellow artists - and maintained, with very few exceptions, almost exactly the same composition, face-on to the camera and cropped down to head and shoulders. After his early success with his paintings and an association with the photorealists of the late 1960s, Close was seduced by printmaking when he created the mezzotint Keith,1972. The serial quality of making a large-scale print, where the artist would produce one section of the image, then make a print, then continue until the final result was a series that slowly built up to a final image, became the conceptual basis for the rest of his career.
Created in 1988, this reduction block linocut is hand-signed by Chuck Close in pencil in the lower margin and numbered from the edition of 50. The piece is archivally presented in a hand-gilded, white gold frame.
Created in 1988, this reduction block linocut is hand-signed by Chuck Close in pencil in the lower margin and numbered from the edition of 50. The piece is archivally presented in a hand-gilded, white gold frame.
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