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Bateau bleu (The Grotto), 1950

Lithograph printed in colour
19 1/2 × 13 3/5 in
49.5 × 34.6 cm
Edition of 200
Bidding closed
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signed and numbered from the edition of 200 in pencil, on Arches wove paper, published by Guilde de …

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signed and numbered from the edition of 200 in pencil, on Arches wove paper, published by Guilde de la Gravure, Paris/Geneva, with their blindstamp, the full sheet, 495 x 346mm (19 1/2 x 13 5/8in) (unframed)

Dorothea Tanning
American, 1910–2012
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An active artist for nearly 70 years, Dorothea Tanning began her career as a Surrealist, later moving away from the movement to create the raw and prismatic merging of color planes she called “Insomnias”. Tanning’s earlier works, like Fatala (1947), are heavily representational, favoring strong line, shading, and linear perspective. In the 1950s, she began to reveal new overriding preoccupations with luminous color and energy, as in Midi et demi (Half past noon) (1957), a quietly energetic composition with only the vaguest hints of figures. Tanning, who was influenced by Marcel Duchamp, Man Ray, and Max Ernst, to whom she was married, turned increasingly to experimental styles as her career progressed, such as soft cloth sculpture and installation, fusing the two for one of her first installation pieces, “Hotel de Pavot 202” (1971), without fully abandoning a surrealistic aesthetic. Late in her career she worked as a poet and memoirist.

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About the work
FA
Forum Auctions

signed and numbered from the edition of 200 in pencil, on Arches wove paper, published by Guilde de …

Read more

signed and numbered from the edition of 200 in pencil, on Arches wove paper, published by Guilde de la Gravure, Paris/Geneva, with their blindstamp, the full sheet, 495 x 346mm (19 1/2 x 13 5/8in) (unframed)

Dorothea Tanning
American, 1910–2012
Follow

An active artist for nearly 70 years, Dorothea Tanning began her career as a Surrealist, later moving away from the movement to create the raw and prismatic merging of color planes she called “Insomnias”. Tanning’s earlier works, like Fatala (1947), are heavily representational, favoring strong line, shading, and linear perspective. In the 1950s, she began to reveal new overriding preoccupations with luminous color and energy, as in Midi et demi (Half past noon) (1957), a quietly energetic composition with only the vaguest hints of figures. Tanning, who was influenced by Marcel Duchamp, Man Ray, and Max Ernst, to whom she was married, turned increasingly to experimental styles as her career progressed, such as soft cloth sculpture and installation, fusing the two for one of her first installation pieces, “Hotel de Pavot 202” (1971), without fully abandoning a surrealistic aesthetic. Late in her career she worked as a poet and memoirist.

Bateau bleu (The Grotto), 1950

Lithograph printed in colour
19 1/2 × 13 3/5 in
49.5 × 34.6 cm
Edition of 200
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
Other works by Dorothea Tanning
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Surrealism