Untitled
Fine art lithograph print from
Jasper Johns' series 6 Lithographs (after "Untitled 1975"), created in 1976. The original "Untitled" work from 1975 was a large-scale painting using oil and encaustic on canvas, featuring the same crosshatch motif.
Artwork Information
Artist: Jasper Johns (born 1930)
Title: The print shown is likely one of the six lithographs in the series, possibly #4, from 6 Lithographs (after "Untitled 1975").
Year Created: 1976 for the print series; the original painting was from 1975.
Medium: Lithograph on paper, specifically Rives BFK wove paper.
Dimensions: The sheet size for the individual prints is approximately 30 1/8 × 29 7/8 inches (76.5 × 75.9 cm).
Publisher: Gemini G.E.L., Los Angeles.
Context: The series uses Johns' signature crosshatching motif, which he reportedly saw on a passing car and adopted for its "literalness, repetitiveness, an obsessive quality, order with dumbness, and the possibility of a complete lack of meaning". These prints revisit the original 1975 painting to explore themes of memory, repetition, and the variations that occur when an image is translated across different media.
Jasper Johns' series 6 Lithographs (after "Untitled 1975"), created in 1976. The original "Untitled" work from 1975 was a large-scale painting using oil and encaustic on canvas, featuring the same crosshatch motif.
Artwork Information
Artist: Jasper Johns (born 1930)
Title: The print shown is likely one of the six lithographs in the series, possibly #4, from 6 Lithographs (after "Untitled 1975").
Year Created: 1976 for the print series; the original painting was from 1975.
Medium: Lithograph on paper, specifically Rives BFK wove paper.
Dimensions: The sheet size for the individual prints is approximately 30 1/8 × 29 7/8 inches (76.5 × 75.9 cm).
Publisher: Gemini G.E.L., Los Angeles.
Context: The series uses Johns' signature crosshatching motif, which he reportedly saw on a passing car and adopted for its "literalness, repetitiveness, an obsessive quality, order with dumbness, and the possibility of a complete lack of meaning". These prints revisit the original 1975 painting to explore themes of memory, repetition, and the variations that occur when an image is translated across different media.
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