"Untitled (Paris Review) 1983" by Sol LeWitt - šŸ”„Fabulous Framed Screenprint - Well Priced Blue Chip
Untitled (Paris Review) 1983 Limited Edition Print by Sol LeWitt
Untitled (Paris Review) 1983 Limited Edition Print by Sol LeWitt - 0
Untitled (Paris Review) 1983 Limited Edition Print by Sol LeWitt - 1
Untitled (Paris Review) 1983 Limited Edition Print by Sol LeWitt - 2
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Sol LeWitt

"Untitled (Paris Review) 1983"

LISTING INFO
ARTIST BIO
ART STYLES
Year1983
Hand SignedHand Signed And Numbered in Pencil Lower Right 
Condition Excellent 
Framed with GlassNatural Wood Frame. 
Purchased fromAuction House 2014 
Story / Additional InfoScreenprint in colors, on heavy wove paper, with full margins. Published by the Paris Review, New York. From the signed and numbered edition of 150. 
Certificate of AuthenticityArt Brokerage 
LID73737
Sol LeWitt - United States

Art Brokerage: Sol LeWitt American Artist: b. 1928-2007. Sol LeWitt was born in Hartford, Connecticut in 1928, the son of Russian Jewish immigrants. He was raised by his mother and his aunt following his father's death when he was six. As a child, he enjoyed drawing on the blank sheets of wrapping paper in his aunt's store and attending art classes at the Wadsworth Atheneum. LeWitt completed a traditional art program at Syracuse University in 1949 and served in the Korean War as a graphic artist. In 1953 he moved to New York and held a variety of short-term jobs, including working as a night receptionist at the Museum of Modern Art, while developing alternatives to what he called "the useless ideas of Abstract Expressionism." He began making simple geometric paintings in series, which became the basis of his art. In the early 1960's, LeWitt extended these ideas to three- dimensional wooden forms or "structures." Bothered by their inconsistencies, he stripped the wooden skin off these structures to reveal the sculpture's skeletal core. He also developed a prescribed ratio that he followed, which determined the amount of open space versus the amount of support structure in each piece. This focus on highly conceptual relationships, with increasing complexity and variation, has continued to guide his work as a sculptor. The cube provided a particularly rich form for this kind of exploration and has been the focus of his attention for decades. He has been equally concerned with expanding the parameters of two-dimensional work, creating drawings and paintings that are applied directly to the wall and that transform entire architectural environments. Listings wanted.

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