Classification: Print
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Louise Nevelson
American, 1899–1988
Never fully identifying with any particular art movement, Ukrainian-born American artist Louise Nevelson forged her own distinct style that pulled from Abstract Expressionism and Cubism. Recognized as one of the greatest sculptors of the twentieth century, Nevelson gained acclaim for her “sculpted walls” of painted wood. In addition to her sculptural works, Nevelson also participated in the graphic arts throughout her career creating numerous drawings and prints.
The etching, "Goddess from the Great Beyond" comes from the first full series of prints Nevelson produced. Through printmaking, Nevelson toyed more with the figure, yet she did so in an abstract way by rendering it with energetic lines surrounded by heavy, almost architectural, blocks of black ink. Playing with contrasts of darkness and light, solids and voids, these prints resonate closely with Nevelson's sculptural abstractions as she explored line, space, and mass.
American, 1899–1988
Goddess from the Great Beyond
about 1953–1955
Object Type:
Print
Dimensions:
13 7/8 in. x 7 13/16 in. (35.24 cm x 19.84 cm)
Medium and Support:
Etching and aquatint on paper
Accession Number:
1995.0002.0001
Credit Line:
Montgomery Museum of Fine Arts Association Purchase
Copyright:
© Estate of Louise Nevelson / Artists Rights Society (ARS), New York
Never fully identifying with any particular art movement, Ukrainian-born American artist Louise Nevelson forged her own distinct style that pulled from Abstract Expressionism and Cubism. Recognized as one of the greatest sculptors of the twentieth century, Nevelson gained acclaim for her “sculpted walls” of painted wood. In addition to her sculptural works, Nevelson also participated in the graphic arts throughout her career creating numerous drawings and prints.
The etching, "Goddess from the Great Beyond" comes from the first full series of prints Nevelson produced. Through printmaking, Nevelson toyed more with the figure, yet she did so in an abstract way by rendering it with energetic lines surrounded by heavy, almost architectural, blocks of black ink. Playing with contrasts of darkness and light, solids and voids, these prints resonate closely with Nevelson's sculptural abstractions as she explored line, space, and mass.
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