1980s Sally Anderson "Snake Creek" Signed Original Monotype Painting

Description

"Snake Creek"



by Sally Anderson

Original Monotype on Paper

Hand signed by the artist

Paper Size: 30" x 40"

Image … more "Snake Creek"



by Sally Anderson

Original Monotype on Paper

Hand signed by the artist

Paper Size: 30" x 40"

Image Size: 24" x 34"

Condition: It was once framed and there is a slight discoloration to the paper that was not covered by the mat (visible in signature photo). The handwriting at the top left is just an instruction to the framer that says "Please mat to edge of painting".

100 percent guarantee of authenticity

Certificate of Authenticity is included




SALLY ANDERSON



Although Sally Anderson had achieved national prominence with her creations in woven sculpture, she was not content to continue working with that medium simply because of the success it brought her. After weaving for 10 years, she found that her work was beginning to frustrate, rather than to excite her, and she turned to painting and lithography. Since then, Anderson has received national recognition for her work in those media as well.


Born and raised in Wisconsin, Anderson was the eldest of five children. A shy and sensitive girl, she would spend hours creating puppet shows for which she painted and costumed clothespins, designed cardboard scenery, and made up the scripts but she would perform only for her family. In junior high school, without her knowledge, Anderson's art teacher entered two of her pieces in a newspaper contest, and Anderson won. Her parents, impressed with her talent, enrolled her in art school, but Anderson soon quit because she was too shy to let anyone see her work.


The shyness gradually dissipated, and Anderson went on to earn a Bachelor of Arts degree from Beloit College in Wisconsin, and to do graduate work at the University of Wisconsin and the Instituto de Allende in Mexico. During the years when she worked solely in abstract fiber sculpture, Anderson won two National Endowment for the Arts grants and several major federally-supported commissions. She now devotes all of her time to painting, producing abstract works that employ paint and a variety of other media. The results are brightly-colored creations with energetic splashes of shapes and designs.


"I build up large gessoed canvases in different layers," explains Anderson. "Then I tape off the edges and apply tiny lines of differing angles and colors. Next, I use a large brush to randomly splash colors." She continues taping over areas and applying paint, until she has built up several layers of acrylic. When she removes the tape, Anderson often adds torn pieces of handmade paper, foil, thread, or gold leaf and then uses a squeeze bottle filled with paint to add tiny action lines, other marks, and occasionally, a minute figure.


"I want my paintings to excite the senses," Anderson declares. "The viewer can play 'find the hidden picture' or just drink in the harmony between the explosion and the ordered energy on the canvas. I want to create works that have energy, movement, and intensity of color, but that also -- upon closer examination have an academic control."


Anderson is listed in Who's Who in American Art, and her works have been featured in countless one-person exhibitions throughout the country. They are also displayed in numerous collections, including Saks Fifth Avenue; the Bundy Museum; Spellman Investment Company; and Honeywell, Incorporated, to name just a few.



Monotyping is a type of printmaking made by drawing or painting on a smooth, non-absorbent surface. The surface, or matrix, was historically a copper etching plate, but in contemporary work it can vary from zinc or glass to acrylic glass. The image is then transferred onto a sheet of paper by pressing the two together, usually using a printing-press. Monotypes can also be created by inking an entire surface and then, using brushes or rags, removing ink to create a subtractive image, e.g. creating lights from a field of opaque color.



Unlike monoprinting, monotyping produces a unique print, or monotype, because most of the ink is removed during the initial pressing. Although subsequent reprintings are sometimes possible, they differ greatly from the first print and are generally considered inferior. A second print from the original plate is called a "ghost print" or "cognate". Stencils, watercolor, solvents, brushes, and other tools are often used to embellish a monotype print. Monotypes are often spontaneously executed and with no previous sketch. less