atelier 17 exhibition:

Drawn from the collection of Tyrus Clutter, Greater than 17, is composed of artists who work(ed) in printmaking, influenced by the techniques of British painter and printmaker Stanley William Hayter.

Hayter began his printmaking career working with the engraved line. His technique was based in Surrealism and he was affiliated with the artists of that movement for a time. He became increasingly influential among European Modernists when he opened his renonwed workshop--Atelier 17--in Paris in 1927. The workshop moved to New York during the war, but again returned to Paris in 1950. Between Paris and New York, the workshop was filled with some of the greatest names of 20th century art: Miro, Calder, Lipchitz, Picasso, Stuart Davis, David Smith, Motherwell, Nevelson, Pollock, Rothko, and de Kooning.

Many of the over one hundred sixty works in this exhibition are produced with the Color Viscosity Intaglio printing process which was developed at Hayter's Atelier 17 in the late 1950s. Earlier attempts had been made to print color etchings from a single plate, using stencils, but this was the breakthrough development of the workshop. Nearly all of the artists included in this core segment of the collection worked at Atelier 17 with Hayter, or at least visited or met him at some point. Artists such as Krishna Reddy and Hector Saunier were also responsible for printing several of Hayter's intaglio editions.

The works reveal the importance of Hayter, and other artists like Mauricio Lasansky, in the development of printmaking in the middle of the 20th century. Evident are aspects of abstraction connected to the automatism of Surrealism, as well as some representational imagery with mythic and religious overtones---particularly in the work of Dick Swift.

Represented are artists from the U.S. and Europe, but also some originally from South America, Scandinavia, Australia, and Asia. This shows the open, international flavor of Atelier 17, as does the inclusion of over twenty female artists. The diversity of Atelier 17 was exceptional and predates the feminist movement, proper, in the U.S.

Also included are some photographs of Hayter and Helen Phillips and an engraving plate by Phillips. These are listed in the printed catalogue that can also be viewed in this PDF. The sizes included represent the sizes of the images, not framed sizes. The exhibit opened at the Webber Gallery of the College of Central Florida in the fall of 2021 (see installation shots here); it will be at the Leepa-Rattner Museum in 2022. Professor Clutter is also considering other venues for the exhibition. To inquire about the exhibit and for more details contact tyrus@tyrusclutter.com .

PAGE 2 OF THE EXHIBITION WORKS.

Isolde Baumgart, Ember Days, Color Viscosity Intaglio, 9 3/4" x 7 5/8" (Lakeside Studio Proof)
Letterio Calapai, Untitled, Woodcut, 3 1/8" x 2 1/8"
Johnny Friedlaender, Three Poems, Color Intaglio, 7 3/4" x 6 1/8"
Patricia de Gogorza, Bird Mountain 1961, Color Intaglio, 9 3/4" x 13 1/4"
Stanley William Hayter, Vortex, 1968, Soft Ground Etching and Scorper with Viscosity Printing, 19" x 16"
Stanley William Hayter, Free Fall, 1974, Color Engraving and Soft Ground Etching ,23 3/8" x 19 3/8"
Stanley William Hayter, La Lecon D'Anatomie (The Anatomy Lesson) 1954/55, Intaglio with Color Stencils, 15 1/2" x 11 1/2"
Stanley William Hayter, Night Forest (Feuilles Eparses), 1963, Color Viscosity Intaglio, 8 1/8" x 6 3/4"
Stanley William Hayter, L'Oeil (The Eye), 1971, Color Viscosity Intaglio, 15 3/8" diameter
Stanley William Hayter, Araignee, 1967, Color Viscosity Intaglio, 11 3/4" x 9 5/8"
Fred Becker, Inferno, Mixed Intaglio with Rainbow Relief Roll, 7 1/2" x 6 1/4"
Martin Barooshian, My Asia Minor, Color Viscosity Intaglio, 23 3/4" x 18 1/2"
Ruth Cyril, La Montagne Enchante', 1960, Mixed Intaglio with Relief Roll, 17 1/2" x 30 7/8"
Leonard Edmondson, Untitled, Intaglio, 6" x 11 3/8"
Leonard Edmondson, Burial Mound, 1960, Color Intaglio, 11 1/2" x 17 3/4", published by International Graphic Arts Society
Ernest Freed, Untitled Christmas Print, 1972, Shaped Linoleum with Embossing, 4 1/2" x 3 5/8"
Terry Haass, Nexus V, 1968, Color Intaglio, 10 1/2" diameter
Stanley William Hayter, Rubis, 1968, Etching inked in Intaglio and Relief, 11" x 11", proof (marked essai) and upside down compared with illustration in Black & Moorehead Catalogue
Stanley William Hayter, Illustrations from Heinrich Von Kleist's Les Marionnettes, 1947, reproductions of drawings, pages each 6 1/2" x 4 1/4", #257 from a published number of 972 books
Sergio Gonzalez-Tornero, Cool World, 1966, Color Viscosity Intaglio, 16 3/4" x 14"
Stanley William Hayter, Wind, 1974, Color Soft Ground Etching, 23 5/8" x 17 1/4"
Isolde Baumgart, Atelier 17, Color Intaglio printed as a poster for 1971 Exhibition, 15" x 13 1/2"
Francoise Bricaut Tortillard, Color Viscosity Intaglio, 8" x 10 7/8"
Angelica Caporaso, L'echa Jaudape, Intaglio with Color Relief Roll, 16 3/4" x 21 1/2"
Johnny Friedlaender, Fleur V, Color Intaglio, 7 5/8" x 5 1/2"
Sergio Gonzalez-Tornero, Los, 1961, Color Viscosity Etching with Scraper, 15 1/2" x 13 1/2"
Sheigla Hartman, Crown of Thorns, 1969, Color Viscosity Intaglio, 22 1/2" x 14 1/2"
Terry Haass, Kaleiddoscope 3 (Orange), Color Intaglio, 6 3/8" x 6 3/8"
Shoichi Hasegawa, La Ciel en Fleurs, circa 1968, Color Viscosity Intaglio, 21" x 19 1/4"
Terry Haass, Kaleiddoscope 4 (Red), Color Intaglio, 5 3/4" x 5 1/4"
Sergio Gonzalez-Tornero, Rose Field, 1965, Color Viscosity Intaglio, 17 3/4" x 13 1/8"
Stanley William Hayter, Death by Water, 1948/1976, Engraving and Scorper, 13 7/8" x 23 7/8"
Stanley William Hayter, Fond de la Mer (Seabed), 1960, Etching inked in Intaglio and Relief, 11 3/4" x 19 3/8"
Stanley William Hayter, Helix 1969, Color Soft-ground Etching with two Relief Rolls, one through a Stencil, 25 1/2" x 19"
Stanley William Hayter, Gulf Stream, 1959, Color Viscosity Intaglio, 20 1/8" x 19 1/2"
Stanley William Hayter, Hidden Figure, 1983, Color Intaglio with Relief Roll in Gradation, 20 1/2" x 16"
Stanley William Hayter, Night Moth, 1946, Intaglio with Silkscreen on Plate, 6" x 4 1/2"
Stanley William Hayter, Red Flow, 1963, Color Viscosity Intaglio, 15 1/2" x 11 5/8"
Stanley William Hayter and Helen Phillips, Untitled Holiday Print, 1955, Engraving with Linoleum offset on Plate and Relief Roll, 5 3/4" x 4 1/4"
Arun Bose, Sacred Horses, Color Viscosity Intaglio, 17 3/8" x 17 1/2"
Ernest Freed, Untitled Christmas Print, 1967, Engraving with Color, 9 3/4" x 6" (two color variations)
Minna Citron, L'Araignes (The Spider), 1962, Etching, Aquatint, and Gauffrauge with Color Relief Roll, 26" x 15"
Stanley William Hayter, Desiree, 1966, Scorper and Soft Ground Etching with Relief Roll, 15 1/2" x 19 1/8", from variant edition
Stanley William Hayter, Night (La nuit), 1960, Color Viscosity Intaglio with Experimental Plastic Resist, 11 5/8" x 19 1/8"
Stanley William Hayter, Night Sea, 1962, Color Viscosity Intaglio, One of Four Color Trial Proofs, 11 1/2" x 15 1/2"
Ernest Freed, Circe, 1957, Multiplate Hard and Soft Ground Etching, Color Trial Proof, 6" x 8 3/4"
Ernest Freed, The Gates of Hell, 1969, Multiplate Hard Ground Color Etching, 9 1/2" x 15 1/2"
Ernest Freed, Red Rooster, 1949, Intaglio overprinted with Linoleum block, 23 7/8" x 16";

Ernest Freed, Untitled Christmas Print, 1967, Engraving with Color, 9 3/4" x 6" (two color variations)
Stanley William Hayter, Croquis (Croquis au burin), 1973, Engraving, 15 1/2" x 11 1/2"
Stanley William Hayter, Maternity, 1940, 3 Silkscreen Colors in Tempera Overprinted with Engraving and Soft-ground Etching Plate, Artist Proof 2/5, 9" x 7 1/2"
Stanley William Hayter, Night Sea, 1962, Color Viscosity Intaglio, One of Five Artists Proofs, 11 1/2" x 15 1/2"
Stanley William Hayter, Personnage a genoux (Kneeling Figure) 1949, Engraving and Soft-ground Etching, 9 7/8" x 5 7/8"
Stanley William Hayter, Saddle, 1970, Soft-ground Etching with Relief Roll, 17" x 21 1/2"
Stanley William Hayter, Famille Japonaise (Japanese Family) 1955, Intaglio and Scorper with Color Stencils, 14 3/8" x 9 3/4"
Terry Haass, Nexus VI, 1968, Color Intaglio, 10 1/2" diameter
Stanley William Hayter, Small Horse, 1931, Engraving, 2 1/2" x 3 1/4", Ex Libris proof printed in 1978
Anita de Caro, Conte de Fees, 19637, Hard and Soft ground Etching, 6 1/2" x 9 1/2", from the collection of Joh Buckland-Wright
Lee Chesney, Delegation, 1950, Color Intaglio, 12" x 14 3/8"
Minna Citron, Dancer, 1945 (from the 1985 edition of 100), Hard and Soft Ground Etching, 5 5/8" x 4 7/8""
David F. Driesbach, Smoke Rings, 1978, Color Viscosity Intaglio, 8 5/8" x 13 1/8"
Terry Haass, Nexus III, 1968, Color Intaglio, 10 1/2" diameter
Terry Haass, Untitled Greeting Card, c. 1970, Color Intaglio, 3 1/4" x 2 1/8"
Terry Haass, Untitled Greeting Card, (holiday card for Lacouriere Paris) 1973, Color Intaglio, 4 1/2" x 3 3/8"
Terry Haass, Untitled Greeting Card, c. 1970, Color Intaglio on tan paper, 3 1/4" x 1 7/8"
Stanley William Hayter, Poisson Rouge, 1957, Color Viscosity Intaglio, 12 1/4" x 17 7/8"
Ted Appleby (attributed), Untitled, Engraving with color relief roll, c. 1951, 7 5/8" x 7"
Ted Appleby, Untitled, Engraving, c. 1951, 4 3/4" x 3 3/4"
Bernard Brussel-Smith, Cain and Abel, c. 1957-58, Engraving, Soft Ground Etching, and Scorper with Color Stencils, 19 3/16" x 11 7/8" (with signature stamp from the artist's estate)
Bernard Brussel-Smith, Cain and Abel, c. 1957-58, Engraving -- State Proof, 19 3/16" x 11 7/8"
Minna Citron, Marine, 1948, Etching and Aquatint with Color Stencils, 6 1/4" x 8 7/8"
Minna Citron, Sherman, 1941, Etching and Aquatint , 6 15/16" x 8 3/16" (on gray-green paper, printed outside of the edition, between 1941 and 1947)
Shoichi Hasegawa, Autre Marine, circa 1968, Color Viscosity Intaglio, 23 7/8" x 19 3/8"
Stanley William Hayter, Sea Serpent, 1976, Engraving and Soft-ground Etching with Color Viscosity Printing 16 3/16" x 21"
Stanley William Hayter, Untitled Holiday Greeting Card, 1944-45, Engraving, 3 7/8" x 3" (from the collection of architect Serge Chermayeff)
Stanley William Hayter, Le Beche (The Spade - annual holiday print), 1941-42, Engraving, 3 7/8" x 2 7/8" (from the collection of architect Serge Chermayeff)
Stanley William Hayter, Untitled Drawing 1986, Ink on Paper, 11 3/4" x 7 1/2"