Alex Katz, Sasha 2, 2016
|Artist:||Alex Katz (1927 - 9999)|
|Title:||Sasha 2, 2016|
|Medium:||Archival pigment inks on Crane Museo Max 365 gsm fine art paper|
|Image Size:||34 in x 34 in (86.4 cm x 86.4 cm)|
|Sheet Size:||34 in x 34 in (86.4 cm x 86.4 cm)|
|Framed Size:||43 3/4 in x 43 3/4 in (103.5 cm x 103.5 cm)|
|Edition:||An artist proof numbered from the edition of 20 in pencil in the lower left (aside from the numbered edition of 100); printed and published by Lococo Fine Art Publisher, St. Louis.|
|Signature:||This work is hand signed by Alex Katz (Brooklyn, 1927 - ) in pencil in the lower left.|
|Condition:||This work is in excellent condition.|
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Historical Description of this artwork
Alex Katz Sasha 2, 2016 is an exemplary offering from the American figurative artist. Featuring a warm palette, Katz’s flat abstraction shift the focus away from the subject, instead emphasizing the forms and coloration. Two cropped close-ups of his female sitter are placed side by side, with the more extreme magnification on the left section. In both depictions, his model, Sasha, has turned her head in a three quarter profile. Though the colors simplified, Katz implies depth by shading the left half of Sasha’s face a slightly darker tone of beige, adding shadows in this same darker tone to her smile line and below her right eye. The woman is faired skinned with grey blue eyes, and blonde hair the falls in strands below her jawline. Her peachy skin is offset by a pungent fuchsia background.
By cropping the image of his subject, Alex Katz beckons the viewer to analyze Sasha’s expression. Upon close inspection, we notice the subtle differences between the side by side views of Sashsa, which are ever so slight: the slight change in the angle of her grin, to the reflections in her iris’s which have changed positions.
Created in 2016, this archival pigment inks on Crane Museo Max 365 gsm paper is hand signed by Alex Katz (Brooklyn, 1927 – ) in pencil in the lower left. An artist proof numbered from the edition of 20 in pencil in the lower left (aside from the numbered edition of 100), Alex Katz Sasha 2, 2016 is printed and published by Lococo Fine Art Publisher, St. Louis.
Catalogue Raisonné & COA:
Alex Katz Sasha 2, 2016 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).
1. A Certificate of Authenticity will accompany this artwork.
About the Framing:
Framed to museum-grade, conservation standards, Alex Katz Sasha 2, 2016 is presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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With a visual langauge of stylized flats in amplified colors, Alex Katz' sought inspiration from Japanese woodcuts and American culture to create his distinctive portraits and landscapes. His bold and simple paintings are noted as precursors to the Pop Art movement, Katz career includes a prolific oeuvre in printmaking, his prints adhering to the artist's unremitting style that characterized the subjects and spaces he immortalized.
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Artistic Styles of Katz
American portraits, landscape, American Figurative Pop Art, Jewish Nouveau realisme portraits
Alex Katz Complete Biography
News About Katz
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Alex Katz Biography
One of the most recognized and widely-exhibited artists of his generation, Alex Katz was born in 1927 in Brooklyn, New York. Studying at the Cooper Union School in New York from 1946 to 1949 Katz left for the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. It was here that he was exposed to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz has admitted to destroying a thousand paintings during his first ten years as a painter in order to find his style. Since the 1950’s, he worked to create art more freely in the sense that he tried to paint “faster than [he] can think.” Every year from early June to mid-September since 1954, Katz has moved from his SoHo loft to a 19th-century clapboard farmhouse in Lincolnville, Maine. Coming into his own style of expression, his paintings are defined by their flatness of color and form, their economy of line, and their cool but seductive emotional detachment; with a key source of inspiration being the woodcuts produced by Japanese artist Kitagawa Utamaro. From 1954 to 1960, Katz made a number of small collages of still lifes, Maine landscapes, and small figures. It was during this time that Katz began exhibiting his work, and since then has produced a celebrated body of work that includes paintings, drawings, sculpture, and prints. Taking inspiration from various aspects of mid-century American culture and society, including television, film, and advertising, over his storied career he has established himself as a preeminent painter of modern life. Utilizing characteristically wide brushstrokes, large swathes of color, and refined compositions, he is most often associated with the Pop Art movement even though his creations predate it.