A monotype-printed city view.

Item Details

New York City(?), 1953

Unique, Very good; not examined out of frame.

Dimensions: sight = 11.5 x 7.75 inches; overall = 18.25 x 15.25 inches. Mat board is archival. Monotype is hinged to archival foam core backing board. Frame appears to be vintage.

Excerpts from Wikipedia (minus footnotes):

Louise Nevelson (September 23, 1899 – April 17, 1988) was an American sculptor known for her monumental, monochromatic, wooden wall pieces and outdoor sculptures.

A prominent figure in the international art scene, Nevelson participated in the 31st Venice Biennale. Her work has been included in museum and corporate collections in Europe and North America. Nevelson remains one of the most important figures in 20th-century American sculpture.

Her work is included in museum collections worldwide such as...the Smithsonian American Art Museum, Washington DC; Tate, London; the Whitney Museum of American Art, Brooklyn Museum, Museum of Modern Art, New York; and the Guggenheim Museum.

Nevelson's limited palette of black and white, became central. She spray painted her walls black until 1959. Nevelson stated that black "means totality. It means: contains all. It contained all color. It wasn't a negation of color. It was an acceptance. Because black encompasses all colors. Black is the most aristocratic color of all. The only aristocratic color ... I have seen things that were transformed into black that took on greatness. I don't want to use a lesser word."

Louise Nevelson has been a fundamental key in the feminist art movement. Credited with triggering the examination of femininity in art, Nevelson challenged the vision of what type of art women would be creating with her dark, monumental, and totem-like artworks that art historians have seen as masculine. Nevelson believed that art reflected the individual, not "masculine-feminine labels", and chose to take on her role as an artist, not a female artist.

The former president of the Crystal Bridges Museum of American Art said, "In Nevelson's case, she was the most ferocious artist there was. She was the most determined, the most forceful, the most difficult. She just forced her way in. And so that was one way to do it, but not all women chose to, or could take, that route."