Woodcut, also known as Xylography or “tree writing” in Greek, is the oldest form of engraving and a technique used in printing. Artists carve their drawings onto a wooden board, taking into consideration the density and structure of the wood as well as the resistance of the fibers during the cutting process, as these factors determine the thickness and smoothness of the lines. The areas of the image that are intended to be “white” in the final print are then removed by the woodcut artist. Following this, the artist applies paint to the board using either a swab or roller, covering the raised areas with color. A sheet of paper is then placed on top, and the artist presses it down using a press. This completes the wood engraving process.
The method originated in China and the Ancient East during the 6th and 7th centuries. Around a century later, it spread to Japan and eventually reached Europe within five centuries. Initially, block printing emerged as the first woodcut technique, wherein the artist would carve lines on both sides, resulting in prominent black strokes on the paper. As book printing evolved in the 15th century, the toned woodcut method appeared. This technique ensured the image carrier’s durability even after numerous prints. The artist would apply the drawing to a tree’s cross-section, allowing for the preservation of intricate carved details. By the early 16th century, Venetian Hugo da Carpi introduced a novel approach by using separate printing boards for each paint shade, earning him recognition as the inventor of color woodcut. However, in the latter half of the 20th century, this technique lost its popularity and became limited to individual artistic works.
What these contemporary, modern and conceptual artists do with woodcuts is wonderful
Sol Lewitt – Loopy Doopy, Blue/Red, 2000
Sol Lewitt, an American artist born in Connecticut in 1928 to Russian-Jewish immigrant parents, was known for his remarkable productivity and fortunate timing. In 1960, he started working as a night receptionist at MoMA New York, where he had colleagues such as Robert Ryman and Dan Flavin, and was surrounded by influential artists like Eva Hesse and Robert Smithson. Throughout his career, Lewitt was involved in various artistic mediums, including books, painting, installations, sculpture (referred to as “structures” by the artist), photography, and printmaking. One recurring theme in his work was the design known as “Loopy Doopy.” This design originated from Lewitt taping two pencils together and twisting them on paper, resulting in large-scale drawings displayed at PaceWildenstein in 1998. The shape then appeared on a range of objects, from small boxes to large-scale rooms, and in this specific case, a two-color woodcut print in red and blue. This artwork is a limited edition of 50, signed and numbered by the artist.
Al Held – Kyoto Wa, 1985
Al Held was born in New York in 1928 and studied art in Paris. After returning to New York, he became involved in the growing abstract expressionist movement. However, in 1967, Held decided to break away from the movement’s emphasis on “flatness” and strict geometry. This led to a change in his artistic style, with his works becoming more loose and incorporating more space and depth. He also began to experiment with manipulating and breaking the canvas itself. Starting from 1978, Held took his experimentation even further by incorporating color into his work. Throughout his career, his art continued to evolve, becoming more crowded, three-dimensional, and colorful. However, he still maintained his original mastery of geometry. This color woodcut from 1985 exemplifies Held’s desire to experiment with form, shape, and technique while not limiting himself to a specific artistic school. It is part of Crown Point Press’s Japanese Woodcut program and was published as an edition of 100 copies.
Damien Hirst – Pridinol, 2010
Often overlooked in all the excitement surrounding Damien Hirst and his career is his adeptness with color and shape, as well as the uncomplicated foundations on which much of his finest work is built (reference this week’s project for the UK NHS as a prime exemplification). Pieces such as Mother and Child (Divided) initially create a sensation but fundamentally employ a straightforward reduction of an idea into three colors, precise lines, and form. Similarly, his dot paintings and mandalas utilize basic shapes, recurring patterns, and a restricted color scheme to maximize their impact. A heightened version of this can be seen in Pridinol, his unadulterated two-tone woodcut from 2010. In a typical Hirstian touch, however, the artwork is titled after a potent pharmaceutical muscle relaxant.
Robert Mangold – Untitled, 1989-90
Robert Mangold, who was born in 1937, is categorized as a minimalist artist; however, his artwork does not adhere to the common belief of being strictly formal and having rigid lines. Instead, Mangold’s work often features curves, ellipses, and layers that delicately overlap, composed of warm, earthy colors such as terracotta, green, yellow, and orange. According to the New York Times in 1994, these subdued hues emit a certain radiance and, despite being perfectly flat, they suggest a soft atmospheric space. This particular woodcut piece dates back to 1989 and combines hard geometric lines with gentle curves, as well as white spaces alongside detailed shading. These elements highlight the physicality of the printing process, and the edition consists of 35 prints.
Richard Bosman – Volcano, 1989
Richard Bosman, who belonged to the Colab art group in the late Seventies along with Charlie Ahearn and Jenny Holzer, emerged from the neo-expressionist movement. In his early work, he depicted the violence, romance, and drama found in pulp fiction novels, offering a glimpse into the dark side of American life, encompassing everything from household accidents to secretive moments in parked cars. However, as time went on, his focus shifted towards the forces of nature, particularly its overpowering might. His later works captured scenes of people immersing themselves in water or getting swept away, as well as snow-bleached landscapes and burning fields. This exceptional woodcut piece portrays a split scene, depicting moments before a volcanic eruption and the ensuing mayhem that follows. With its sea shaded in green and its mountainous terrain, the artwork pays homage to the original woodcut creations of Japanese master Hiroshige.
Alex Katz – The Sailor Hat, 2003
Alex Katz’s portraits have a distinct clarity that is easily recognizable. Typically, these portraits are created using vibrant colors, radiating with light, and feature a direct gaze from the subject to the viewer. Katz is widely regarded as one of the key figures in post-war figurative painting. He encapsulates his style by stating, ‘I aim to create an image that is simple yet intriguingly complex.’ This statement perfectly captures how his work is immediately understandable, while also containing hidden depths and narratives. Katz explains, ‘Realist painting involves omitting many details. My paintings may be somewhat shocking, as they leave out so much. However, the mind tends to fill in these gaps. Through painting, I offer you a glimpse of my own perspective.’ Despite the absence of several of his usual artistic elements, this 2003 piece serves as a compelling illustration of Katz’s concept, as it unmistakably bears his artistic signature.
Leave a Reply