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Chuck ClosePhil, Limited Edition Pop print: Portrait of Philip Glass, pencil no. 243/10001976
1976
About the Item
Chuck Close
Phil, 1976
Limited Edition rubber stamp print on Strathmore 3-Ply Paper.
Pencil numbered 243/1000 on the verso. Artist's printed copyright name verso.
Accompanied by original envelope (see photo)
Printer: A. Colish Press
Paper: Strathmore 3-Ply
Distributor: The Museum of Modern Art, New York
Stamped by: Unity Engraving Company, Inc.
Provenance:
Museum of Modern Art
8 × 8 inches
Unframed
This famous, long sold out pencil numbered limited edition print, originally offered by the Museum of Modern Art, is adopted from Close’s drawing in which he created an image that occupied a standardized grid. In the original work, Close sprayed a small amount of ink into each square of the grid, thereby giving equal importance to the entire picture. This image depicts his close friend, the well-known composer, Philip Glass. On the verso of the print is the artist's name stamped by Unity Engraving Company, Inc. Never framed; excellent original condition.
This is a terrific purchase for Chuck Close fans, because it's a well known print MOMA's 1970s Rubber Stamp Print - of one of the artist's most iconic images (his longtime friend and artistic muse Philip Glass).
The complete Rubber Stamp Portfolio is comprised of 13 rubber stamp prints, in black and white and color, from the artists Carl Andre, Richard Artschwager, Daniel Buren, Chuck Close, Barry LeVa, Sol LeWitt, Agnes Martin, Robert Mangold, Sylvia Plimack Mangold, Don Nice, Myron Stout, Tom Wesselmann, and Joe Zucker. This is a terrific purchase for Chuck Close fans, because it's a well known print MOMA's 1970s Rubber Stamp Print - of one of the artist's most iconic images (his longtime friend and artistic muse Philip Glass).
About Chuck Close:
Chuck Close is known for his innovative conceptual portraiture, depicting his subjects, which are transposed from photographs, into visual data organized by gridded compositions.
Throughout his childhood and adolescence, Close used art as a means of navigating a learning disability. He continued to develop his artistic skills through private art lessons, drawing and painting from live models. As a student at the University of Washington (BA, 1962), and then at Yale (BFA 1963; MFA 1964), he began to emulate the styles of Arshile Gorky and Willem de Kooning, considering himself a third-wave Abstract Expressionist and as he explored this vocabulary he pivoted from biomorphism to figuration.
After studying at the Akademie der Bildenden Künste in Vienna (1964) on a Fulbright grant, Close returned to the United States in 1965. He taught painting at the University of Massachusetts, Amherst, where he received his first solo exhibition in 1967. Seeking to break from the gestural style that had characterised his student work, Close shifted toward Pop-inflected figuration before embracing the tools of commercial art and illustration. Basing his paintings on photographic imagery, Close reduced his palette to black and white, culminating in his large-scale painting Big Nude (1967). His 1967 solo exhibition featured paintings of male nudes, proving controversial and ultimately resulted in a landmark court case that sought to extend freedom of speech to the visual arts.
On relocating to New York, Close continued to explore realism, painting black-and-white photographic portraits of his family and friends onto large-scale canvases in precise detail, applying paint with an airbrush. He participated in his first New York exhibition in 1970 at Bykert Gallery alongside Lynda Benglis and Richard Van Buren. During this time, the Walker Art Center, Minneapolis, acquired Big Self Portrait (1967) directly from his studio. Close relinquished his strictly monochromatic palette in 1970 and began employing a three-color process as well as various imposed systems and techniques. A year later he received his first major museum exhibition Recent Work at the Los Angeles County Museum of Art (1971).
Exploring different modes of representation, Close began in the late 1970s to make explicit use of a grid system or an irregular grid based on a physical relationship to his support. The resulting works read like pixelated mosaics wherein the viewer’s perception blends distinct areas of juxtaposed color—be it layered shapes of colors, fingerprints, or lines—into a unified image.His first retrospective Close Portraits was organized by the Walker Art Center, Minneapolis in 1980, and traveled to the St. Louis Art Museum, Missouri; Museum of Contemporary Art, Chicago; closing at the Whitney Museum of American Art. In 1988, Close was paralyzed following a rare case of spinal artery collapse. Through rehabilitation, he regained his ability to paint by using a brush-holding device strapped to his wrist and forearm. Beginning in 1991, he continued his examinations of portraiture through productions of silk tapestries and, since 2003, has furthered this investigation, producing editions of large-scale Jacquard tapestry portraits.
Constantly revitalizing his practice by challenging modes of representation, Close’s oeuvre encompasses various forms of painting, printmaking, drawing, collage, daguerreotype and Polaroid photography, and, most recently, tapestries.
- Courtesy of Pace Gallery
- Creator:Chuck Close (1940, American)
- Creation Year:1976
- Dimensions:Height: 8 in (20.32 cm)Width: 8 in (20.32 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745214090952
Chuck Close
Chuck Close was renowned for his highly inventive techniques of painting the human face and was best known for his large-scale, photo-based portrait paintings.
After earning his MFA from Yale in 1964, Close took his place atop the American art world by creating large-scale, Photorealistic portraits that have creatively blurred the distinction between photography and painting. In 1988, Close was paralyzed following a rare spinal artery collapse; despite the physical limitations, the artist pressed forward with his work. With a brush taped to his wrist, he continued to paint.
In 2000, Close was presented with the prestigious National Medal of Arts by President Clinton and was appointed by President Obama to serve on the President’s Committee on the Arts and the Humanities.
"Yes, it is hard to paint blur," Close said. "There are some works I made by using a grid of string to help me perceive changes in depth of focus — something artists have done for centuries. The depth of field in the daguerreotypes is a function of the process of making an image that way, with a very short, very bright flash of light."
Although Close had employed various painterly styles throughout his career, he is perhaps best known for his grid set on the diagonal. Close’s paintings are all-over images where the background of the picture – the negative space – is as important as the face itself, and one cannot exist without the other.
Close often took his family and friends as models, making monumental and classical works that are bold in their simplicity. His work has been the subject of more than 200 solo exhibitions in more than 20 countries, including major retrospective exhibitions at New York's Museum of Modern Art, the Metropolitan Museum of Art, the State Hermitage Museum in St. Petersburg, the Museo Nacional Centro de Arte Reina Sofia de Madrid and the San Francisco Museum of Modern Art.
(Biography provided by Weng Contemporary – ArtXX AG)
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