CONTEMPORARY MONOTYPE PHENOMENON

Edwin Dickinson

Edwin Dickinson
Joyce Treiman, 1987
color monotype with hand coloring and pencil additions, 17.8 x 12.7 cm
(7 x 5 in.), Private Collection


Treiman Biography

The immediacy and directness of the monotype technique account for its appeal to artists throughout the twentieth century, especially in view of the increasing complexity of many other forms of printmaking. Just as Maurice Prendergast and others printed their images with pressure from the bowl of a spoon, Joyce Treiman used a rolling pin on her kitchen table to print a series of artists' portraits in monotype. Conceived as an homage to certain American painters with whom she felt a special kinship, Treiman adopted a head-and-shoulders format for each of the eight portraits, including a self-portrait. The printed image served as a sort of underpainting, which the artist modified with paint, pastel, and pencil to emphasize a particular trait or mood. The soft, suggestive forms of the transferred image, printed faintly because of the relatively light pressure of the rolling pin, give each impression a sense of distance and nostalgia, brought into focus by the surface additions. Intimate in scale, Treiman's portraits of artists recall the quick but sensitive monotype portraits by members of Frank Duveneck's circle, done from memory rather than from life..


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