Generations 16, 1978
By Robyn Denny
Etching & aquatint •
Signed •
52cm
x
70.5cm
SKU: RQD-generations16-s
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Robyn Denny, who graduated in 1957 from the Royal College of Art, was one of a powerful generation of innovatory artists. He was to become one of the most original abstract painters of the later 20th century, evolving an intellectually demanding approach to painting that – perhaps paradoxically – resulted in pure visual delight bordering on the voluptuous.
Independent, constantly questioning and intensely urban, Denny immersed himself in contemporary city culture, making it the foundation of his work. His titles, though apparently plucked from the air, were culled from news reports, TV shows and esoteric reading. Later, they sometimes suggested the process of making paintings, implying a reflective dialogue between artist and canvas. He also made numerous prints and, with the Colour Box series, experimented with translucent acrylic sheets as a medium for multiples.
Independent, constantly questioning and intensely urban, Denny immersed himself in contemporary city culture, making it the foundation of his work. His titles, though apparently plucked from the air, were culled from news reports, TV shows and esoteric reading. Later, they sometimes suggested the process of making paintings, implying a reflective dialogue between artist and canvas. He also made numerous prints and, with the Colour Box series, experimented with translucent acrylic sheets as a medium for multiples.
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About the work
About the Work
Scarce signed original etching with aquatint on watercolour wash.
Bon-a-Tirer before the edition of 35.
Printed at JC Editions.
Published by Bernard Jabobson.
The Generations Suite is a set of 24 etchings, all with asymmetrical linear configurations which relate by mirroring one another through the set.
The etching plates were printed over watercolour wash and, on some, a further wash was then added.
The plate alters the ground colours and adds black or white soft-ground etched lines.
The conventions for numbering prints are well-established, such as editions, artist’s proofs and printer’s proofs.
These prints are from a B.A.T or Bon-A-Tirer edition, meaning ‘Good to Print’ in French. This is the master image that the artist signs off for the printer as the standard that the editions must match. It is very rare to find B.A.T editions.
Bon-a-Tirer before the edition of 35.
Printed at JC Editions.
Published by Bernard Jabobson.
The Generations Suite is a set of 24 etchings, all with asymmetrical linear configurations which relate by mirroring one another through the set.
The etching plates were printed over watercolour wash and, on some, a further wash was then added.
The plate alters the ground colours and adds black or white soft-ground etched lines.
The conventions for numbering prints are well-established, such as editions, artist’s proofs and printer’s proofs.
These prints are from a B.A.T or Bon-A-Tirer edition, meaning ‘Good to Print’ in French. This is the master image that the artist signs off for the printer as the standard that the editions must match. It is very rare to find B.A.T editions.
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