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 .

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Ynez Johnston, Tribal Coast, 1964, Multiple Plate Color Intaglio, 11 3/8" x 17 3/4"
Aki Roland, (Tanina) La Vollee (Valley), 1974, Color Viscosity Intaglio, 21 3/8" x 17 3/8"
Charles Lloyd, Dotaku, 1965, Shaped Plate Color Viscosity Intaglio, 13" x 10 1/4"
Doris Seidler, Blitzed Gothic,1957, Lucite Engraving, 21" x 12 1/4"
Hector Saunier, Eruption, 1973, Color Viscosity Intaglio, 21 1/2" x 17 1/2"
Helen Phillips, Untitled Holiday Print, 1970, Linoleum Relief as Monoprint, 3 1/2" x 6" (three versions)
Doris Seidler, The Garden, 1966, Color Viscosity Intaglio, 9 7/8" x 7 7/8"
Gabor Peterdi, Lanikai, 1969, Color Viscosity Intaglio, 19 1/2" x 23 1/2"
Denji Noma, The Horizon, 1964, Color Viscosity Intaglio, 15 3/4" x 19 3/4"
Denji Noma, Murasaki (Violette), 1964, Color Viscosity Intaglio, 9 3/4" x 15 3/4"
Ferdinand Springer, Shrinagar, 1956, Seven Plate Etching inked in Intaglio and Relief, 18" x 12 5/8", Lacouriere Blind Stamp
Mauricio Lasansky, El Maestro, 1962, Mixed Color Intaglio Processes from three plates, 15" x 15"
Joseph Hecht, Petite Biche Cochee (Little Doe Lying Down), ca. 1920-23, Engraving, Trial Proof, 3 1/2" x 5 1/4"
Clinton King, Hellas, 1974, Color Viscosity Intaglio, 17 1/2" x 21 1/2"
Lawrence Heyman, Untitled, ca. 1963, Color Viscosity Intaglio, 9 1/2" x 6 1/2"
Ruth Leaf, The Blues, 19??, Color Viscosity Intaglio, 7 1/2" x 5 1/2"
Jim Monson Totem 1980, Color Viscosity Intaglio, 10" x 9 1/2" (Created at Lakeside Studio while his wife Isolde Baumgart was also there working on Ember Days)
Kaiko Moti, Untitled, 1964, Color Viscosity Intaglio, 15 1/2" x 13 1/8"
Krishna Reddy, Forme Rombaute (Falling Figure), 1972, Color Viscosity Intaglio, 13 1/4" x 17 3/8"
Hector Saunier, Kites, 1974, Color Viscosity Intaglio, 17" x 16 3/4"
Helen Phillips, Module Construction, 1954, Etching with Open Bite with Color Relief Rolls, 27" x 15 1/2"
Roger Platiel, Le Songe de Cortez, 1975, Color Viscosity Intaglio, 13 1/2" x 14 3/4"
Gail Singer, Sentinels II, 1968, Color Viscosity Intaglio, 13 1/8" x 14 3/8" (from personal collection of David F. Driesbach)
Krishna Reddy, Floraison (Blossoming), 1965, Color Viscosity Intaglio, 17 3/8" x 13 1/2"
Krishna Reddy, Forme Roude (Dawn Worship), 1973, Color Viscosity Intaglio, 13 5/8" x 17 1/2"
Nono Reinhold, Untitled, 1963, Color Viscosity Intaglio, 3 3/4" x 5 1/4"
Hector Saunier, 8, 1969, Color Viscosity Intaglio, 3 7/8" x 3 7/8"
Karl Schrag, Flower, Sun and Wind, 1974, Etching, 1 3/8" x 2"
Agathe Sorel, Melting Point,1964, Color Intaglio with Relif Roll and Embossing, 16" x 20 3/8"
Agathe Sorel, Midi,1959, Color Viscosity Intaglio, 13 1/8" x 17 1/2"
Ferdinand Springer, Untitled Composition, 1970, Two Plate Etching inked in Intaglio and Relief, 7" x 4 3/8
Rigmor Poenaru, Cross Current, 1971, Color Viscosity Intaglio, 13 1/4" x 23 1/4"
Hector Saunier, Aladino, 1978, Color Viscosity Intaglio with Relif Roll in Gradation, 20 1/4" x 18"
Hector Saunier, Jardin Suspendu, 1978, Engraving with Two Relif Rolls, 15" x 17 1/4"
Hector Saunier, Redes, 1972, Color Viscosity Intaglio, 19" x 14"
Dick Swift, The Disrobing of Christ: Station #10, 1957/58, Mixed Intaglio Processes, 17 3/4" x 14 1/2"
Dick Swift, L'esprit Libere, 1965, Color Viscosity Intaglio, 7 3/4 x 9 5/8"
Dick Swift, Miracle II, 1958, Color Intaglio from two plates, 7 1/2 x 16 3/8"
Dick Swift, The Prophecy II, 1969, Color Viscosity Intaglio, 15" x 26"
Dick Swift, Scheherazade, Mixed Process Color Intaglio, 6" x 5"
Dick Swift, Veneration of the Ancestors, 1955, Color Intaglio printed from two plates, 17 7/8" x 22"
Dick Swift, The Temptation of Eve, 1965, Color Intaglio with Relief Roll, 25 5/8" x 14 7/8"
Dick Swift, Before the Fall, 1972, Color Viscosity Intaglio, 35 3/8" x 17 1/4" (Artist Proof from Lakeside Studio)
Dick Swift, Oedipus, 1966, Color Viscosity Intaglio, 29 3/4" x 10"
Dick Swift, The Masquerade, 1964, Mixed Intaglio Processes with Viscosity Printing, 12 1/4" x 7 3/4"
Eugenio Tellez, Untitled, 1961, Color Viscosity Intaglio, 19 1/4" x 15"
Shirley Witebsky, Autumn, 1969, Color Viscosity Intaglio, 14" x 17 1/2" (first wife of Krishna Reddy)
Shirley Witebsky, Fruit Tree, Color Viscosity Intaglio, 14" x 18" (wife of Krishna Reddy)
Enrique Zanartu, Untitled, from the Grafica Latino Americana portfolio, 1970, Color Intaglio from multiple plates, 11 1/4" x 12 7/8"
Anne Ryan, Triangulum (from the Constellation series), Hard and Soft Ground Etching, 2 7/8" Diameter
Hector Saunier, Floating Island, 1970, Color Viscosity Intaglio, 5" x 4"
Helen Phillips, Pyramide, 1953, Etching and Open Bite with Relief Roll, 19 9/16" x 13 1/8"
(Gladys) Dalla Husband, Rocks, ca. 1935 Engraving, 8 3/4" x 7", probably from Collection of John Buckland-Wright
Dolf Rieser, Dancers, 19??, Engraving, Printed Offset, 11 3/4" x 17 3/4"
Chen Shu-Lin, Cardinal, 1997, Color Viscosity Intaglio, 15 3/8" x 15 1/8
Joseph Hecht, Untitled (Donkey) ca. 1920-23, Engraving, 2" x 1 1/4"
Joseph Hecht, Roy V. Titus Bookplate, ca. 1920-23, Engraving, 2 1/8" x 1 1/2"
Joseph Hecht, Biche Morte (Dead Doe), 1928, Engraving, 5 1/2" x 9"
Joseph Hecht, Rue de la Bourse (Street of the Stock Exchange), ca. 1938-40, Engraving, Artist Proof, 6 7/8" x 9 1/2"
Ynez Johnston, Untitled (Mother and Child), ca.1949, Etching Printed in Relief 7 13/16" x 5 7/8"
Alain de la Bourdonnaye, Untitled Composition, 1960, Color Intaglio, 5 1/2" x 9"
Alain de la Bourdonnaye, Untitled Composition, 1961, Color Viscosity Intaglio, 5" x 7 3/4"
Alain de la Bourdonnaye, Untitled Composition, 1959, Color Viscosity Intaglio, 5" x 7 3/4"
Mauricio Lasansky, Sol y Luna, 1945, Engraving, Scorper, Hard and Soft-ground Etching, Aquatint, Scraping and Burnishing, 15 7/8" x 20 3/4"
Alain de la Bourdonnaye, Untitled Composition, 1986, Color Viscosity Intaglio, 3 7/8 x 6 1/4"
Eugenio Tellez, Untitled, 19??, Intaglio,with Color Relief Roll, 9 1/2" x 6 5/8"
Roger Vieillard, Promethee, ca. 1939, Engraving, 9" x 8 1/4", probably from the Collection of John Buckland-Wright
Enrique Zanartu, Untitled, 1952, Color Intaglio, 4 7/8" x 3 1/2"
Ynez Johnston, Untitled (Recent Paintings Exhibition Print), 1976, Color Etching and Aquatint, 7 13/16" x 5 7/8"
Jean Lodge, Yellow Web, 1968, Color Etching, 15 1/2" x 17 3/4"
Aki Roland, Nagare (Flow), 1965, Color Viscosity Intaglio, 15 1/2" x 11 1/4"
Shirley Witebsky, Metamorphose, 1969, Color Viscosity Intaglio, 14" x 17 1/2"
Shirley Witebsky, Sea Star, 1969, Color Viscosity Intaglio, 13 1/2" x 9"
Harry Hoehn, Lament for a Piper, 1959, Color Aquatint, 17 1/2" x 23 1/4"
Hope Manchester, Untitled, c. 1950, Engraving and Soft Ground Etching with Scorper, 6 3/4" x 3 3/4"
Richard Lacroix, La Mousson, 1963, Color Viscosity Intaglio, 15 1/2" x 16 1/2"
Daniel Philip Platt, Sea Bird, 1944, Engraving and Soft ground Etching, 11 5/8" x 8 7/8"
Helen Phillips, Untitled, c. 1936-37, Copper Engraving Plate, 2 7/8" x 4 15/16" (with posthumous impressions from 2021)