Machine Generated Data
Tags
Amazon
created on 2022-02-19
Clarifai
created on 2023-10-28
Imagga
created on 2022-02-19
Google
created on 2022-02-19
Font | 81.8 | |
| ||
Material property | 80.1 | |
| ||
Publication | 76.4 | |
| ||
Paper | 69.5 | |
| ||
Paper product | 67.2 | |
| ||
Book | 63.4 | |
| ||
Document | 61.2 | |
| ||
Rectangle | 60.8 | |
| ||
Parallel | 59.5 | |
| ||
Letter | 54.8 | |
|
Color Analysis
Feature analysis
Amazon
Book

Book | 100% | |
|
Categories
Imagga
text visuals | 100% | |
|
Captions
Microsoft
created on 2022-02-19
text | 99.8% | |
|
Text analysis
Amazon

that

how

organic

printing

have

their

draw-using

each

the

does,

they

also

what

time,

and

margins

magnetized

made

stone

additional

worked

clarity

works

individual

for

in

join

form

an

paint

it

symphonic

same

litho-

full

(and

one

graphic stone that magnetized the challenge that lithography has had

canto

To

always

has

graphic

adds

To Annalee

say

to

as they join in their interplay, their symphonic mass lends additional

lithography

should

clarity to each individual canto, and at the same time, each canto adds

had

Annalee

challenge

at

lends

from

whole-so

no

its

separate

No

other, they also form an organic whole-so that as they separate and

mass

way

for me from the very beginning. No matter what one does, no matter

as

completely

I should say that it was the margins made in printing a litho-

matter

song

me

very

interplay,

how completely one works the stone (and I have always worked the

stone the same way I paint and draw-using

was

a

canto,

beginning.

its song to the full chorus.

other,

I

chorus.

To Annalee
I should say that it was the margins made in printing a litho-
graphic stone that magnetized the challenge that lithography has had
for me from the very beginning. No matter what one does, no matter
how completely one works the stone (and I have always worked the
stone the same way I paint and draw-using the area-complete), the
stone, as soon as it is printed, makes an imprint that is surrounded by
inevitable white margins. I would create a totality only to find it change
after it was printed-into another totality. Theoretically a lithograph
consists of the separation between the imprint and the paper it is on.
Unfortunately it never works that way for me. There is always the in-
evitable intrusion (in my lithograph at least) of the paper frame. To
other, they also form an organic whole-so that as they separate and
as they join in their interplay, their symphonic mass lends additional
clarity to cach individual canto, and at the same time, each canto adds
crop the exdruding paper or to cover it with a mat or to climinate all
gins by "bleeding" (printing on papers smaller than the drawing
on the stone) is an evasion of this fact. It is like cropping tofa painting.
It is success by mutilation.
The struggle to overcome this intrusion-to give the imprint its
necessary scale so that it could have its fullest expression, (and I feel
that the matter of scale in a lithograph has usually not been consid-
ered) so that it would not be crushed by the paper margin and still
have a margin-that was the challenge for me. That is why each canto
has its own personal margins. In some, they are small, in others large,
still in others they are larger on one side and the other side is mini-
mal. However, no formal rules apply. Each print and its paper had
to be decided by me and in some cases the same print exists with two
different sets of margins because each imprint means something dif-
ferent to me. In painting, I try to transcend the size for the sake of
scale. So here I was faced with the problem of having each imprint
transcend not only its size but also the white frame to achieve this
sense of scale.
These eighteen cantos are then single, individual expressions,
each with its unique difference. Yet since they grew one out of the
its song to the full chorus.
I must explain that I had no plan to make a portfolio of "prints".
I am not a printmaker. Nor did I intend to make a "set" by intro-
ducing superficial variety. These cantos arose from a compelling ne-
cessity-the result of grappling with the instrument.
To me that is what lithography is. It is an instrument. It is not
a "medium"; it is not a poor man's substitute for painting or for draw-
ing. Nor do I consider it to be a kind of translation of something
from one medium into another. For me, it is an instrument that one
plays. It is like a piano or an orchestra, and as with an instrumen
interprets. And as in all the interpretive arts, so in lithography, crea-
tion is joined with the "playing"; in this case not of bow and string,
but of stone and press. The definition of a lithograph is that it is
writing on stone. But unlike Gertrude Stein's rose, the stone is not a
stone. The stone is a piece of paper.
I have been captivated by the things that happen in playing
this litho instrument; the choices that develop when changing a color
or the paper-size. I have "played" hoping to evoke every possible in-
strumental lick. The prints really started as three, grew to seven, then
eleven, then fourteen, and finished as eighteen. Here are the cantos,
eighteen of them, each one different in form, mood, color, beat, scale
and key. There are no cadenzas. Each is separate. Each can stand by
itself. But its fullest meaning, it seems to me, is when it is seen together
with the others.
It remains for me to thank Cleve Gray for bringing me to
lithography, particularly at the time he did, Tatyana Grosman for
her devotion and encouragement and patience in my behalf and
to Zigmunds Priede for his sympathetic cooperation on the press.
Barnett Newman

To

Annalee

I

should

say

that

it

was

the

margins

made

in

printing

a

litho-

graphic

stone

magnetized

challenge

lithography

has

had

for

me

from

very

beginning.

No

matter

what

one

does,

no

how

completely

works

(and

have

always

worked

same

way

paint

and

draw-using

area-complete),

stone,

as

soon

is

printed,

makes

an

imprint

surrounded

by

inevitable

white

margins.

would

create

totality

only

to

find

change

after

printed-into

another

totality.

Theoretically

lithograph

consists

of

separation

between

paper

on.

Unfortunately

never

me.

There

in-

evitable

intrusion

(in

my

at

least)

frame.

other,

they

also

form

organic

whole-so

separate

join

their

interplay,

symphonic

mass

lends

additional

clarity

cach

individual

canto,

time,

each

canto

adds

crop

exdruding

or

cover

with

mat

climinate

all

gins

"bleeding"

(printing

on

papers

smaller

than

drawing

stone)

evasion

this

fact.

It

like

cropping

tofa

painting.

success

mutilation.

The

struggle

overcome

intrusion-to

give

its

necessary

scale

so

could

fullest

expression,

feel

usually

not

been

consid-

ered)

be

crushed

margin

still

margin-that

That

why

own

personal

In

some,

are

small,

others

large,

larger

side

other

mini-

mal.

However,

formal

rules

apply.

Each

print

decided

some

cases

exists

two

different

sets

because

means

something

dif-

ferent

painting,

try

transcend

size

sake

scale.

So

here

faced

problem

having

but

frame

achieve

sense

These

eighteen

cantos

then

single,

expressions,

unique

difference.

Yet

since

grew

out

song

full

chorus.

must

explain

plan

make

portfolio

"prints".

am

printmaker.

Nor

did

intend

"set"

intro-

ducing

superficial

variety.

arose

compelling

ne-

cessity-the

result

grappling

instrument.

is.

"medium";

poor

man's

substitute

painting

draw-

ing.

do

consider

kind

translation

medium

into

another.

For

me,

instrument

plays.

piano

orchestra,

instrumen

interprets.

And

interpretive

arts,

lithography,

crea-

tion

joined

"playing";

case

bow

string,

press.

definition

writing

stone.

But

unlike

Gertrude

Stein's

rose,

piece

paper.

captivated

things

happen

playing

litho

instrument;

choices

develop

when

changing

color

paper-size.

"played"

hoping

evoke

every

possible

strumental

lick.

prints

really

started

three,

seven,

eleven,

fourteen,

finished

eighteen.

Here

cantos,

them,

form,

mood,

color,

beat,

key.

cadenzas.

separate.

can

stand

itself.

meaning,

seems

seen

together

others.

remains

thank

Cleve

Gray

bringing

particularly

time

he

did,

Tatyana

Grosman

her

devotion

encouragement

patience

behalf

Zigmunds

Priede

his

sympathetic

cooperation

Barnett

Newman