A woodcut speaks in a language that is abstracted,
abbreviated, encoded and timeless.
John
G Hurtin, Baronet, will cover
this season (New York State, s.n., 1800) The gouge marks in the ground beneath the figures' feet show the carver's bold approach.
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With a sharp blade, the artist removes wood from the surface
of a smooth wooden plank, paring away what is not needed. What is left is a raised design that will
carry the ink to the paper. The process of working from dark to light
(through cutting) forces the artist to make bold choices, black or white
choices. It requires directness in both
cutting the block and in editing the message that one is trying to convey.
Chestnut Street
Theatre, Pauvrette! or, Under the snow!
… (Philadelphia, 1864)
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As I make my own woodcuts, I feel connected
with the anonymous makers who came before me.
As an artist and Conservator, I am inspired by their
immediacy, the clarity of intent, and their hand-hewn charm. Come to the Library Company of Philadelphia to discover more
examples of woodcuts from our collections, on view outside the Reading Room
beginning September 30.
Andrea Krupp, Mountainside, 18 x 18, 2014
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Andrea Krupp, Riding to the Althing, 16 x 12, 2014
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Andrea Krupp, Saga 2, 16 x 20, 2014
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NORTH of HERE, an exhibit of Iceland-inspired woodcuts and monoprints by Andrea
Krupp, opens October 10, 6:00-9:00pm at Twenty-two Gallery in Philadelphia. A Gallery Talk “Iceland, Inspiration and the
artistic process” will be held October 11, 3:00pm, at the same location. All are welcome!
Andrea Krupp
Conservator
The horse print is awesome! (of course) I love those vintage horse ads, both as a printer and a rider.....thanks for sharing all of this and the connection to your own prints too!
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