Sun Rising II

This is a small, simple subject that I used to develope the pointillist etching technique. Since I was concentrating more on the technique, I chose a simple subject with an astronomical feeling that comes from my interest in astronomy and space. I have been interested for many years in the pointillist technique developed by George Seurat in painting, but I could not think of how this would be implemented as an etching. I thought about it for many years before I began to see how I might be able to do it, but I needed to test my ideas.

This is a three plate aquatint. The image is 3 by 4-1/2 inches. Because I was experimenting with the technique, I did one stage to work out the process and a second stage to enhance the depth of color in the image. As a result, there are two editions of 5 each: Sun Rising I is the first stage and Sun Rising II is the second stage. This image is from the second stage.

Old Man in the Forest

This is another one of my etchings with an interesting history that I can't explain in this space. I have spent many happy hours hiking in the woods in several states. In some cases, the forests were very heavy and dense. Occasionally, you'd make a turn on the trail or enter a clearing and come across a huge old tree, one that was very old, maybe 100 years or more. They are the lords of the forest and I've always felt a deep reverence for these old trees. In this image, I've attempted to capture the majesty of this old giant nestled deep in the woods among its younger subjects.

This is a four plate etching and aquatint. The image is 8-7/8 by 11-11/16 inches. There is an edition of 4 plus 3 artist's proofs.

Madonna - YellowOrangeRed

This is my favorite subject of all of my etchings. It is a complex subject and was a complex project. It is one of my earlier etchings. The only way I can explain the title is to think of the pointillist painting by George Seurat, "The Grande Jatte"

(http://www.artchive.com/artchive/S/seurat/jatte.jpg.html).

In that painting, there is a Victorian couple in the foreground facing to the left. Imagine that image and the shape of the woman, but facing to the right. Then you can imagine what I see as the central subject of this image. That is a complicated and obscure explanation, but I can't think of any other way to express what I see in this abstract-geometric image.

This is a two plae etching/aquatint plus viscosity roll. It took me two years thinking about this before I realized that I had to have the second plate. The image is 14 by 17-3/4 inches. There is no edition but there are twelve monoprint versions: 5 are in two colors and 7 are three colors.