Garo Z. Antreasian: Reflections on Life and Art
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Garo Z. Antreasian (b. 1922) belongs to the great generation of innovators in mid-twentieth-century American art. While influenced by a variety of European artists in his early years, it was his involvement with Tamarind Lithography Workshop starting in 1960 that transformed his work. As Tamarind’s founding technical director, he revolutionized the medium of lithography. He discovered how to manipulate the spontaneous possibilities of lithography in the manner of the Abstract Expressionist painters. In addition to reflecting on his work, he writes movingly about his Armenian heritage and its importance in his art, his teaching, and his love affair with all sorts of artistic media. Illustrating his drawings, paintings, and prints, this book reveals Antreasian as a major American artist.
This book was made possible in part by generous contributions from the Frederick Hammersley Foundation and Gerald Peters Gallery.
provide encouraging advice and drive us home. We repeated this outdoor painting session only a few times, after which Miss Earhart stopped inviting me. I realized long afterward that she probably felt she had fulfilled her responsibility to push me forward, so that I would understand a serious artist’s responsibility to practice his work regularly, and also to introduce the pure joy of painting from nature. As it happened, I found painting from nature boring and almost never worked outdoors
elements within a given space. To do this, we were required to draw the size and proportion of the rectangle in which the picture is to occur before anything else. Thereafter all elements of shapes, forms, lines, and darks and lights were to conform within this rectangle in a conscious way to attain the expressive intention of the concept. This pre-planning of pictorial organization was an entirely new way of arranging pictures, and I found it very meaningful. Mayer showed many examples of
returned to Saipan, and while there I was ordered to visit the captain of another LST who had orders to participate with an exploratory group of ships going to Hokkaido. They wanted a combat artist aboard to record events around this virtually untouched area of northern Japan. But when I returned to my ship, our commanding officer took me aside and said in confidence that there was a very strong chance our ship would be ordered back to the States to repair the serious damage to our bow doors,
the Everson Museum in Syracuse, the Wadsworth Athenaeum in Hartford, the Addison Gallery of American Art at the Phillips Academy in Andover, Massachusetts, and others, on our way to New York City. Especially memorable from that time was the extraordinary collection of Oriental art at the Cleveland Museum. By chance, a traveling exhibition of Picasso’s David and Bathsheba lithographs was being shown at the Albright-Knox Gallery. It included all of the proof states, which left me gaping, not only
lithography workshop was located in a small, quiet neighborhood between Sunset Boulevard and Santa Monica Boulevard. The following day we found a pleasant second-floor apartment that was to be our home for the coming year. The apartment was about a half hour away from Tamarind, near Hollywood Boulevard and Western Avenue, in the fabled land of the film industry. Most of the apartments around us were occupied by character actors, scriptwriters, and stunt men. The service shops on Hollywood