Dimensions: image: 420 x 360 mm
Copyright: © Stephen Gilbert | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is Stephen Gilbert's *Untitled* piece. It's striking, done in ink, and the bold strokes feel so dynamic. What do you make of the composition? Curator: It’s a fascinating interplay of line and form. Note how the curvilinear shapes interlock with sharp, angular strokes, creating a visual tension. The density of the black ink against the white paper is equally important. Editor: That's interesting. So, the contrast is as crucial as the shapes themselves? Curator: Precisely. The strategic use of negative space amplifies the impact of each stroke. We can appreciate how the artist explores the fundamental elements of art. Editor: I see! It’s all about the relationship between the marks. Thanks! Curator: Indeed, a powerful piece when viewed through that lens.
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This lithograph is related to an untitled painting of 1948, which depicts an insect-like form with a dark blue body and brilliant red wings. The triangular head, eyes and mouth are also distinctive and typical of the fantastic imagery that Gilbert explored until 1950. It was images like these that attracted the attention of the CoBrA group. The artist has said that he was encouraged to experiment with lithography by the Scottish artist William Gear, who was living in Paris during the late 1940s. Gear introduced Gilbert to the lithographic printer Jean Pons, whose print studio, where this was printed, was in the cellar below his wife's millinery shop in Montparnasse. Gallery label, August 2004
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