Nancy Graves - Six Frogs, 1985
Nancy Graves - Six Frogs, 1985
Nancy Graves - Six Frogs, 1985
Nancy Graves - Six Frogs, 1985
Nancy Graves - Six Frogs, 1985
Nancy Graves - Six Frogs, 1985
Nancy Graves - Six Frogs, 1985
  • Load image into Gallery viewer, Nancy Graves - Six Frogs, 1985
  • Load image into Gallery viewer, Nancy Graves - Six Frogs, 1985
  • Load image into Gallery viewer, Nancy Graves - Six Frogs, 1985
  • Load image into Gallery viewer, Nancy Graves - Six Frogs, 1985
  • Load image into Gallery viewer, Nancy Graves - Six Frogs, 1985
  • Load image into Gallery viewer, Nancy Graves - Six Frogs, 1985
  • Load image into Gallery viewer, Nancy Graves - Six Frogs, 1985

Nancy Graves - Six Frogs, 1985

Regular price
$3,000.00
Sale price
$3,000.00
Regular price
Sold out
Unit price
per 
Shipping calculated at checkout.

Produced by the artist and Simca Print Artists, 1985 
90 layer screenprint on Arches Silkscreen paper
Print size: 75 x 106 cm | 29.5 x 41.75 in 
Frame size: 113 x 81 x 5 cm | 45 x 33 x 2 in 
Edition 1 of 66 
Signed, dated and numbered by the artist in graphite 

This artwork is sold framed. Additional packaging and shipping fees will apply after purchase by quote for non-local clients. 

About the artwork:
Three screenprints that Graves completed at Simca Print Artists in New York over a period of six months reveal the evolution of the artist's work and a new direction for her printmaking. The first, 5745 was commissioned as a benefit for the Jewish Museum, New York. Graves visually quoted from two objects in the museum's collection: a second-century Roman terracotta votive offering in the form of a woman's head crowned with a wreath, seen in the print at upper left, and a fragment of a fourth-fifth century Byzantine mosaic of a dove, seen at lower right.

Graves reinterpreted the composition in Six Frogs. The artist changed the printing order of the screens and made other subtle, but distinct changes in each print, such as the orientation of the large pentagon in the center. Graves also replaced the unmodulated opaque inks of 5745 with a combination o iridescent, fluorescent, metallic, and matte colors, demonstrating a new concern for transparency and effects of light. With this series, the artist began to use the sequential process of print-making – numerous screens, creating overlapping layers of color and form, to manipulate the ease which with the viewer is able to discern the fragmented images buried in her prints.