Giorgio Morandi – Steve Linn
$1,500 + shipping (Contact us for shipping outside of the USA. [email protected])
*If purchasing in MI or FL a 6% sales tax will be applied to your order.
Giorgio Morandi, 2020
Unframed 24 x 36 inches
$2,500 + $30 shipping*
(Limited offering of 25 Prints)
*Framing services available
Sharing the thoughts of Steve Linn:
When growing up drawing did not come easily to me. I was jealous of my classmates who could with great facility, dash off their designs while I labored. Later when I entertained the notion of becoming an artist I realized that drawing was an essential element to creation. With this in mind I spent years perfecting my drawing technique. For my sculptures especially those that include sand blasted elements drawing is obligatory.
After these many years I have come to greatly enjoy the drawing process. It is ironic that all the drawings that I do are expressly for the creation of my sculptures and not as works unto themselves. Well into the Covid 19 pandemic and the cancellation of the Habatat International I had a conversation with Aaron Schey who had the idea for me to produce an original drawing for an edition of prints.
I spent a couple of weeks thinking about the project and finally engaged with a subject with which I was fairly familiar, the Italian still life painter Georgio Morandi. Early in my career I remember a conversation in the office of my New York dealer Louis Meisel with the artist James Havard about how Morandi was an artists’ artist, not all that famous but so influential in the regard to his intensity, focus, obsession with his limited cast of characters (bottles) and technique. In the 1980s I did three small sculptures based on Morandi etchings and in the first decade of the 21st century I revisited the subject using cast glass which was not part of my work in the 1980’s.
Morandi’s still lifes for which he is best known, were a dialog between a constant cast of characters consisting of bottles, boxes, bowls, and an occasional outside object. His method of working consisted of taking these shapes cut out of flat tin and agonizingly manipulating them, often taking days or even weeks to compose his picture. He would then go to his collection of real objects recompose the scene and watch how light and shadow played on them in order to make his final small corrections. Having imprinted the image in his mind he would then paint the scene often quite rapidly. A careful look at Morandi’s work over the years reveals the use of these same objects constantly arranged and rearranged.
This is a signed and numbered edition of 25 impressions printed by Jamie Atkins at RCP Artist Services in Portland Michigan.
Enjoy this talk by the artist from November 21, of 2020: YOUTUBE LINK SOON