1953
Louise Nevelson was one of the leading American female sculptors of the 20th century, and she did it on her own terms. She was a pioneer of installation art and created large-scale monochromatic sculptures that are today known for their provocative, compartmentalized forms. While her assemblages involved a range of materials, she is best known for her wooden sculptures. Working in a single color was her signature, and all-encompassing color demanded an all-encompassing focus for this artist — she even kept separate studios for work in black, white and gold.
Nevelson was born in what is now Ukraine in 1899 and emigrated to the United States with her family in 1905. She moved to New York City as a young woman in 1920 to study at the Art Students League. In the 1930s, Nevelson traveled around Europe, came into contact with the works of Picasso, studied with Hans Hofmann and assisted Diego Rivera in New York City.
Nevelson had her first solo show in 1941 at the Nierendorf Gallery in New York. In the late 1940s, she studied with Stanley William Hayter and worked as a ceramicist in the workshop of revered furniture designer Vladimir Kagan, who let her take scraps from the factory to use in her sculptures. (As a child, Nevelson had also worked with discarded wood from her father's lumber yard.)
By the early 1950s, Nevelson had traveled to Guatemala and Mexico. She was inspired by pre-Columbian art and the totemic works of ancient cultures. Nevelson began creating the first of her iconic wood sculptures and later participated in the legendary “Sixteen Americans” exhibition at the Museum of Modern Art. Her work was acquired by prominent institutions in the years that followed.
Nevelson made reliefs in shadow boxes and was for a time affiliated with New York City’s Sidney Janis Gallery as its first female Abstract Expressionist artist (her work was abstract but she also drew on the Cubist and Constructivist movements). In the early 1960s, Nevelson showed her art in Chicago, Manhattan, Paris and West Germany. It was around this time that she exhibited at Pace Gallery in Boston and New York. The gallery represented her for the duration of her career.
Nevelson died in 1988, but her legacy is immense. Her work is held in virtually every major American art museum, including the Museum of Modern Art, the Metropolitan Museum of Art, the Los Angeles County Museum of Art and the National Gallery of Art. Her permanent large-scale public sculptures are installed all over the country, including in Louise Nevelson Plaza in New York City's Financial District.
On 1stDibs, find original Louise Nevelson sculptures, prints and drawings.
THE STONE FIGURES THAT WALK AT NIGHT
By Louise Nevelson
Located in Portland, ME
Nevelson, Louise. THE STONE FIGURES THAT WALK AT NIGHT. Baro 26, Pace Editions 50. Etching and drypoint, 1953-55. Edition of 20, printed by Emiliano Sorini under the supervision of I...
Drypoint, Etching
UNTITLED
By Louise Nevelson
Located in Portland, ME
Nevelson, Louise. UNTITLED. Baro 36. Tamarind Number 801. Lithograph, 1963. Edition of 20, plus 2 Printer's Proofs, 1 Trial Proof, and 3 Artist's Proofs. Inscribed "Tamarind Impressi...
Lithograph
CAT
By Louise Nevelson
Located in Portland, ME
Nevelson, Louise. CAT. Baro 80. Etching and drypoint, 1965/6. Edition of 40 (There were also three Trial Proofs and four Artist's Proofs). Signed and numbered in pencil. 17 1/2 x 11 1/2 inches (plate), (sheet). The edition was printed at the Hollander Graphic...
Drypoint, Etching
FIGURE NO. 1
By Louis Schanker
Located in Portland, ME
Schanker, Louis (American 1903-1981). FIGURE NO.1. Johnson 99. Wood etching in colors, 1949. Edition of 6. Titled and signed in pencil. 25 1/2 X 13 3/8 inches (image). Framed to 33...
Woodcut
CELEBRATION
By Will Barnet
Located in Portland, ME
Barnet, Will. CELEBRATION. Szoke 222. Color Lithograph, 2005. One of 20 Artist's Proofs in addition to the edition of 95. Titled, Numbered "AP 7/20," and signed in pencil. Printed o...
Lithograph
GREEN AND BLACK
By Louis Schanker
Located in Portland, ME
Schanker, Louis (American, 1903-1981). GREEN & BLACK. Color Woodcut, 1941 Brooklyn Museum Booklet 53. Edition of 55 plus 20 trial Proofs. Signed, titled, and numbered 10/55 and inscr...
Woodcut
Magnificent Jungle Cats Etching, Abstract Style, Signed, Edition 1/5
By Louise Nevelson
Located in Fairlawn, OH
Magnificent Jungle Cats Etching, drypoint and monoprint inking of the plate Printed by the artist at Atelier 17, New York Annotated 1/5 in pencil Estate stamp and number, verso Editi...
Etching
Untitled
By Louise Nevelson
Located in New York, NY
Very good impressions of these 4 color screenprints on white wove paper. Each signed, dated and numbered 15/25, 18/36, 15/39 or 6/40 in pencil.
Color, Screen
Untitled
By Louise Nevelson
Located in Toronto, Ontario
Caviar20 is excited to be offering this striking collage by the inimitable Louise Nevelson, who is regarded as one of the most original, influential, and successful American sculptors of the 20th century. Nevelson's enduring appeal lies in her distinct visual language, which is apparent in all of her works, regardless of medium. While her iconic monochromatic wood assemblages are instantly recognizable, she continuously experimented with diverse materials, including resin, steel, and bronze, as well as numerous printmaking techniques. Collage was an important part of Nevelson's practice, defining her signature aesthetic. Much like her approach to printmaking, her collages possess a sculptural ethos that transcends the two-dimensional surface, imbuing the composition with a remarkable sense of volume, texture, and depth. One could argue that Nevelson's sculpture was informed by collage in that she took assorted existing forms combining them in order to create an entirely new and distinct arrangement. This untitled collage is an exceptional example of the artist's mastery of the medium. Featuring an assemblage of wood veneer, mirror, and metal, this work reflects Nevelson's meticulous sense of form and rhythm. Subtle details, such as the alternating direction of the wood veneer grain further heighten the visual complexity of the otherwise minimal composition. The inclusion of wood veneer marks a notable shift for Nevelson, who was previously loyal to a strict monochromatic palette of black or white. It wasn’t until the 1970s with her experimentation in collage that she expanded her palette. Nevelson also created jewellery and this collage acknowledges her activity in that realm. Created at the age of 83 during the final chapter of her career, this piece powerfully captures Nevelson's enduring spirit and dedication to artistic innovation. Today Nevelson's work can be found in every major public collection across North America and beyond. Questions about this piece? Contact us. Visit our Toronto gallery on Thursdays or by appointment. "Untitled" USA, 1983 Mixed media collage Metal, mirror, wood, and wood veneer on grey mat board mounted on 0.25" Luan plywood Signed and dated by artist, bottom right Nevelson Estate no. LN 40830 19.5"H 15.75"W (work) 31"H 21"W (framed) Very good condition Literature: Stein, Judith. Louise Nevelson Collages...
Metal
Mariner Man
By Louise Nevelson
Located in Toronto, Ontario
Caviar20 is thrilled to present the esteemed work of Louise Nevelson - one of the most revered and unique artists of the 20th century. Though best known for her work as a sculptor, l...
Mylar, Photo-lithograph
The Drum
By Louise Nevelson
Located in Toronto, Ontario
Throughout Louise Nevelson's lifetime the artist continually experimented with printmaking and collage. The latter was a particularly important part of her practice. The process mirr...
Screen
Ancient Landscape II Etching, Abstract Expressionist, Signed, 1950s
By Louise Nevelson
Located in Fairlawn, OH
Ancient Landscape II (Ancient City) Etching and drypoint, 1953-1955 Signed and titled in pencil by the artist; (see photo) Annotated: "E130 A/1" in pencil lower right Estate stamp v...
Etching
