Signed and dated 1942 in pencil, edition 25, Ryan 45. A fine impression, with fresh colors, on cream wove paper, with full margins (5/8 to 1 3/8 inches). Several surface scuffs (visible only in raking light), slight toning to the paper within a previous mat opening, otherwise in good condition. Scarce.
Reproduced in: 'A Spectrum of Innovation: Color in American Printmaking', David Acton, New York and London, 1990; 'American Screenprints', Reba and Dave Williams, New York, 1987; 'The American Scene: Prints from Hopper to Pollock', Stephen Coppel, The British Museum, 2008.
Collections: Albright-Knox Art Gallery, British Museum, National Gallery of Art, Smithsonian American Art Museum.
When Landon returned to New York in 1941 (from Massachusetts), he began a series of stylistic explorations in his prints. Several of his prints of the 1940s explore the themes of color, music, and dance. Elements of both the abstract surrealism of the School of Paris and of European modernism appear in many of Landon’s serigraphs of this period. The artist’s models for 'Counterpoint' were the works of New York modernists who were associated with the Abstract Artists group, such painters as Burgoyne Diller and Carl Holty.”
—David Acton, 'A Spectrum of Innovation, Color in American Printmaking, 1890-1960', Worcester Art Museum, 1990.
Reproduced in: 'A Spectrum of Innovation: Color in American Printmaking', David Acton, New York and London, 1990; 'American Screenprints', Reba and Dave Williams, New York, 1987; 'The American Scene: Prints from Hopper to Pollock', Stephen Coppel, The British Museum, 2008.
Collections: Albright-Knox Art Gallery, British Museum, National Gallery of Art, Smithsonian American Art Museum.
When Landon returned to New York in 1941 (from Massachusetts), he began a series of stylistic explorations in his prints. Several of his prints of the 1940s explore the themes of color, music, and dance. Elements of both the abstract surrealism of the School of Paris and of European modernism appear in many of Landon’s serigraphs of this period. The artist’s models for 'Counterpoint' were the works of New York modernists who were associated with the Abstract Artists group, such painters as Burgoyne Diller and Carl Holty.”
—David Acton, 'A Spectrum of Innovation, Color in American Printmaking, 1890-1960', Worcester Art Museum, 1990.
