Jasper Johns: An Allegory of Painting, 1955–1965
Jasper Johns (born 1930) Ale Cans, 1964 lithograph, trial proof on Rives paper National Gallery of Art, Washington, Patrons' Permanent Fund, 2004.28.14 Art © Jasper Johns/Licensed by VAGA, New York, NY  Jasper Johns (born 1930) Ale Cans, 1964 lithograph, trial proof on Japan paper National Gallery of Art, Washington, Patrons' Permanent Fund, 2004.28.17 Art © Jasper Johns/Licensed by VAGA, New York, NY Jasper Johns (born 1930) Ale Cans, 1964 lithograph, trial proof on Japan paper National Gallery of Art, Gift of the Woodward Foundation, Washington, D.C. Art © Jasper Johns/Licensed by VAGA, New York, NY
a b c
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Objects

State and color trial proofs for Ale Cans suggest ways the National Gallery’s collection of Johns’ annotated proofs illuminate the artist’s achievements, and show that testing visual possibilities and recording them in proofs are integral to Johns’ printmaking process. In a linear trial

Ale Cans, 1964
National Gallery of Art, Washington, Patrons' Permanent Fund. Art Jasper Johns/Licensed by VAGA, New York, NY
(fig. a), Johns’ characteristic hatchings, squiggles, and outlines define Ale Cans and its surrounding space, unbounded by the loose, broken line that subsequently encloses a portion of the field. One color variant, lacking the red and green details on the label

Ale Cans, 1964
National Gallery of Art, Washington, Patrons' Permanent Fund. Art Jasper Johns/Licensed by VAGA, New York, NY
(fig. b), shows Ale Cans emerging more vividly from the background than in the edition impression

Ale Cans, 1964
National Gallery of Art, Washington, Patrons' Permanent Fund. Art Jasper Johns/Licensed by VAGA, New York, NY
(fig. c).

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