Renée Bott

Bott, René

American, active second half 20th century

Displaying 85 - 96 of 102

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  • ""

    Straits of Pohai [working proof 8]

    Al Held, Renée Bott

    1990

    Hard ground etching on arches paper (wp 8 – black hard ground, cross hatched background, lots of new hard ground lines and pencil lines indicating additional hard ground lines) [working proof 8]  Accession ID  2024.132.348

    Not on view
  • ""

    Straits of Pohai [working proof 6]

    Al Held, Renée Bott

    1990

    Hard ground etching on arches paper (wp 6 – many new black hard ground lines, lots of pencil lines indicating additional hard ground lines, some printer’s notes in pencil) [working proof 6]  Accession ID  2024.132.347

    Not on view
  • ""

    Straits of Pohai [working proof 3]

    Al Held, Renée Bott

    1990

    Hard ground etching on arches paper (wp 3 – black hard ground line and aquatint back ground with beginning of cross hatching) [working proof 3]  Accession ID  2024.132.346

    Not on view
  • The image shows vertical lines and rectangles with different lengths and thicknesses on a textured brown background.

    Global Village 1-36 [bottom]

    John Cage, Crown Point Press, Renée Bott

    1989

    Bottom section of 2 parts: aquatint, roulette, and drypoint on smoked brown roma fabriano paper  Accession ID  1996.57.1.b

    Not on view
  • ""

    Global Village 1-36 [top]

    John Cage, Crown Point Press, Renée Bott

    1989

    Top section of 2 parts: aquatint, roulette, and drypoint on smoked brown roma fabriano paper  Accession ID  1996.57.1.a

    Not on view
  • The image features a square filled with swirling lines and curved shapes creating an abstract pattern. The composition has a circular, swirling motion drawing the eye towards a central point. The contrast of black and white within the square suggests depth and motion. The abstract nature of the image allows for varied interpretations.

    1 from Five Nights

    Bryan Hunt, Renée Bott, Crown Point Press

    1988

    One from a portfolio of five soapground aquatints, drypoints, and etchings on wove somerset paper  Accession ID  1998.40.195.1

    Not on view
  • Swirling lines and bold shapes converge within a square frame on a plain background, creating an abstract composition.

    2 from Five Nights

    Bryan Hunt, Renée Bott, Crown Point Press

    1988

    One from a portfolio of five soapground aquatints, drypoints, and etchings on wove somerset paper  Accession ID  1998.40.195.2

    Not on view
  • The image features a square composition filled with swirling, irregular lines and shapes creating an abstract pattern. The lines and forms suggest movement and flow, resembling waves or a windswept landscape. The shapes are layered and overlapping, creating depth, reminiscent of natural formations like mountains or dunes. The black and white color scheme enhances the texture and contrasts within the image, emphasizing its abstract nature.

    5 from Five Nights

    Bryan Hunt, Renée Bott, Crown Point Press

    1988

    One from a portfolio of five soapground aquatints, drypoints, and etchings on wove somerset paper  Accession ID  1998.40.195.5

    Not on view
  • This is a photograph of a print layout. The image shows the title "BRYAN HUNT FIVE NIGHTS 1988" in a rectangular border on a white background. Below the title is a quote from "The Rime of the Ancient Mariner" by Coleridge: "We were the first that ever burst / Into that silent sea." The bottom section of the print contains details about its creation, mentioning Crown Point Press in San Francisco, California, an etching by Kathan Brown, and assistance by Phil Pemberton and Doris Simmelink. The composition is minimalist, focusing on centered textual information.

    Five Nights

    Bryan Hunt, Renée Bott, Crown Point Press

    1988

    Portfolio of five soapground aquatints, drypoints, and etchings on wove somerset paper  Accession ID  1998.40.195.1-5

    Not on view
  • The image displays a central rectangular area filled with swirling, layered lines and shapes that create an abstract pattern. The forms are reminiscent of natural textures. The play of light and dark within this area gives an impression of depth, resembling a rugged landscape.

    4 from Five Nights

    Bryan Hunt, Renée Bott, Crown Point Press

    1988

    One from a portfolio of five soapground aquatints, drypoints, and etchings on wove somerset paper  Accession ID  1998.40.195.4

    Not on view
  • The image shows swirling and interlocking lines within a rectangular frame on a blank page. The abstract composition resembles leaves or petals spiraling towards a central point. The shapes create a dynamic visual suggesting natural forms in an abstract way.

    3 from Five Nights

    Bryan Hunt, Renée Bott, Crown Point Press

    1988

    One from a portfolio of five soapground aquatints, drypoints, and etchings on wove somerset paper  Accession ID  1998.40.195.3

    Not on view
  • The image shows an arrangement of geometric shapes, including rectangles and triangles, intersecting and overlaying in an abstract composition. The dominant colors are green, deep orange, and vivid blue. Lines and arcs of red and green weave throughout, creating an intricate network. At the bottom, a gentle arc cuts through the green against a gradient of colors.

    Green (working proof 6)

    Richard Diebenkorn, Crown Point Press, Marcia Bartholme, Hidekatsu Takada, Lawrence J. Hamlin, Renée Bott

    1986

    Color drypoint, etching, spitbite aquatint, and soapground aquatint on wove paper  Accession ID  2014.116.56

    Not on view