ALEX KATZ "JENNIFER AND ERIC" WOODCUT, 1986
Adored by collectors and art lovers the world over, Alex Katz is renowned for his elegant and distinctive version of figuration. Born in 1927, Katz has been dedicated to art-making since the 1950's - however it wasn't until the 60's when he established his signature 'flat' aesthetic. Over the succeeding decades, Katz kept the tradition of figurative painting alive when it was long considered out of style. Printmaking has always been an essential part of his process, and an integral part of his oeuvre.
With a deep and direct connection to the poets of the New York School, Katz has engaged collaboratively with its' members throughout his career. This work is from the A Tremor in the Morning portfolio, which was a collaborative project that Katz completed with his son, the esteemed poet Vincent Katz. Shockingly direct, the prints are monochromatic woodcuts, stark and informative. Each image features a couple from Katz' artistic cannon. Providing romantic context to the poetic components, the woodcuts are simultaneously decisive and questioning--as they ponder the prose:
..."Do you think the end of the world
will come at dawn or at night?"
Each woodcut from the portfolio conveys a sense of tension and mystery--a feeling that is not uncommon when viewing Katz's work. In "Jennifer and Eric," two figures gaze into each others eyes, locked in a climactic moment of tenderness. Set against a sunburst shape resembling a sun, the negative space is charged with energy. Eric holds Jennifer's chin, so that their faces are mirrored. Rendered in high contrast, light and shadows dance across the planes of their faces, adding to the buzz. Katz has conveyed an evocative moment of connection in this punchy, peach-coloured woodcut.
Editions of "Jennifer and Eric" are in the collections of the MoMA and the Brooklyn Museum.
Questions about this piece? Contact us, call +1.416.704.1720, or visit our Toronto gallery.
"Jennifer and Eric" from A Tremor in the Morning
A Tremor in the Morning is a portfolio of ten woodcuts by Alex Katz, including a book containing poems by Vincent Katz and eleven linoleum cuts by Alex Katz.
USA, 1986
Woodcut on Rives BFK paper
Signed and numbered in pencil, lower left of image
Edition: 45 Arabic numerals, 5 Roman numerals
This print is edition "15/45"
12"H 12"W (image)
20.25"H 20"W (sheet)
23.75"H 23.25"W (framed)
Printed by Chip Elwell, Chip Elwell Fine Prints, New York
Published by Peter Blum Editions, New York
Literature:
- Alex Katz: Catalogue Raisonné, prints: 1947-2023, listed as cat. no. 190 alongside the woodcuts in the A Tremor in the Morning portfolio (cat. nos. 189-198) on pages 190-191.
- exh. cat. New York 1987, cat. nos. 53-62
- Blum 2001, cat. nos. 12-21
Adored by collectors and art lovers the world over, Alex Katz is renowned for his elegant and distinctive version of figuration. Born in 1927, Katz has been dedicated to art-making since the 1950's - however it wasn't until the 60's when he established his signature 'flat' aesthetic. Over the succeeding decades, Katz kept the tradition of figurative painting alive when it was long considered out of style. Printmaking has always been an essential part of his process, and an integral part of his oeuvre.
With a deep and direct connection to the poets of the New York School, Katz has engaged collaboratively with its' members throughout his career. This work is from the A Tremor in the Morning portfolio, which was a collaborative project that Katz completed with his son, the esteemed poet Vincent Katz. Shockingly direct, the prints are monochromatic woodcuts, stark and informative. Each image features a couple from Katz' artistic cannon. Providing romantic context to the poetic components, the woodcuts are simultaneously decisive and questioning--as they ponder the prose:
..."Do you think the end of the world
will come at dawn or at night?"
Each woodcut from the portfolio conveys a sense of tension and mystery--a feeling that is not uncommon when viewing Katz's work. In "Jennifer and Eric," two figures gaze into each others eyes, locked in a climactic moment of tenderness. Set against a sunburst shape resembling a sun, the negative space is charged with energy. Eric holds Jennifer's chin, so that their faces are mirrored. Rendered in high contrast, light and shadows dance across the planes of their faces, adding to the buzz. Katz has conveyed an evocative moment of connection in this punchy, peach-coloured woodcut.
Editions of "Jennifer and Eric" are in the collections of the MoMA and the Brooklyn Museum.
Questions about this piece? Contact us, call +1.416.704.1720, or visit our Toronto gallery.
"Jennifer and Eric" from A Tremor in the Morning
A Tremor in the Morning is a portfolio of ten woodcuts by Alex Katz, including a book containing poems by Vincent Katz and eleven linoleum cuts by Alex Katz.
USA, 1986
Woodcut on Rives BFK paper
Signed and numbered in pencil, lower left of image
Edition: 45 Arabic numerals, 5 Roman numerals
This print is edition "15/45"
12"H 12"W (image)
20.25"H 20"W (sheet)
23.75"H 23.25"W (framed)
Printed by Chip Elwell, Chip Elwell Fine Prints, New York
Published by Peter Blum Editions, New York
Literature:
- Alex Katz: Catalogue Raisonné, prints: 1947-2023, listed as cat. no. 190 alongside the woodcuts in the A Tremor in the Morning portfolio (cat. nos. 189-198) on pages 190-191.
- exh. cat. New York 1987, cat. nos. 53-62
- Blum 2001, cat. nos. 12-21
Description
Adored by collectors and art lovers the world over, Alex Katz is renowned for his elegant and distinctive version of figuration. Born in 1927, Katz has been dedicated to art-making since the 1950's - however it wasn't until the 60's when he established his signature 'flat' aesthetic. Over the succeeding decades, Katz kept the tradition of figurative painting alive when it was long considered out of style. Printmaking has always been an essential part of his process, and an integral part of his oeuvre.
With a deep and direct connection to the poets of the New York School, Katz has engaged collaboratively with its' members throughout his career. This work is from the A Tremor in the Morning portfolio, which was a collaborative project that Katz completed with his son, the esteemed poet Vincent Katz. Shockingly direct, the prints are monochromatic woodcuts, stark and informative. Each image features a couple from Katz' artistic cannon. Providing romantic context to the poetic components, the woodcuts are simultaneously decisive and questioning--as they ponder the prose:
..."Do you think the end of the world
will come at dawn or at night?"
Each woodcut from the portfolio conveys a sense of tension and mystery--a feeling that is not uncommon when viewing Katz's work. In "Jennifer and Eric," two figures gaze into each others eyes, locked in a climactic moment of tenderness. Set against a sunburst shape resembling a sun, the negative space is charged with energy. Eric holds Jennifer's chin, so that their faces are mirrored. Rendered in high contrast, light and shadows dance across the planes of their faces, adding to the buzz. Katz has conveyed an evocative moment of connection in this punchy, peach-coloured woodcut.
Editions of "Jennifer and Eric" are in the collections of the MoMA and the Brooklyn Museum.
Questions about this piece? Contact us, call +1.416.704.1720, or visit our Toronto gallery.
"Jennifer and Eric" from A Tremor in the Morning
A Tremor in the Morning is a portfolio of ten woodcuts by Alex Katz, including a book containing poems by Vincent Katz and eleven linoleum cuts by Alex Katz.
USA, 1986
Woodcut on Rives BFK paper
Signed and numbered in pencil, lower left of image
Edition: 45 Arabic numerals, 5 Roman numerals
This print is edition "15/45"
12"H 12"W (image)
20.25"H 20"W (sheet)
23.75"H 23.25"W (framed)
Printed by Chip Elwell, Chip Elwell Fine Prints, New York
Published by Peter Blum Editions, New York
Literature:
- Alex Katz: Catalogue Raisonné, prints: 1947-2023, listed as cat. no. 190 alongside the woodcuts in the A Tremor in the Morning portfolio (cat. nos. 189-198) on pages 190-191.
- exh. cat. New York 1987, cat. nos. 53-62
- Blum 2001, cat. nos. 12-21
