D'Arcangelo, Allan
ALLAN D'ARCANGELO Paris Review, 1965 - Signed
$1,500.00
Sku: EF111-B
Artist: Allan D'Arcangelo
Title: Paris Review
Year: 1965
Signed: Yes
Medium: Serigraph
Paper Size: 40 x 26.25 inches ( 101.6 x 66.675 cm )
Image Size: 30 x 25 inches ( 76.2 x 63.5 cm )
Edition Size: 150
Framed: No
Condition: B: Very Good Condition, with signs of handling or age
Additional Details: Regular Retail: $1500 Edition of 150, signed and numbered by the artist. The Paris Review publishes writings and poetry by aspiring writers young and old. The publications are paid for partly by the sale of artwork created and sold by the Paris Review. D’Arcangelo is better known for his pictures of highways and roadblocks, which pictured deep perspectival vistas in a simplified, flat plane, the view as seen from the driver’s seat as one zooms along the seemingly never-ending American highway in most any state. Next came a series “Barriers,” in which cropped, abstracted imagery of road barriers were superimposed over the one-point perspectival highway vistas. These were a move further towards concern with abstract, two-dimensionality without negating the element culled from seen aspects of the American landscape. The series called “Constellations” (there are 120 in all) further abstracted the view of road barriers into perspectival, jutting patterns thrusting across the canvas against a white ground. The element of the seen is never obliterated and always primary in D’Arcangelo’s dialectic, as amply evidenced in his return to highway imagery in the 1970s.
Artist: Allan D'Arcangelo
Title: Paris Review
Year: 1965
Signed: Yes
Medium: Serigraph
Paper Size: 40 x 26.25 inches ( 101.6 x 66.675 cm )
Image Size: 30 x 25 inches ( 76.2 x 63.5 cm )
Edition Size: 150
Framed: No
Condition: B: Very Good Condition, with signs of handling or age
Additional Details: Regular Retail: $1500 Edition of 150, signed and numbered by the artist. The Paris Review publishes writings and poetry by aspiring writers young and old. The publications are paid for partly by the sale of artwork created and sold by the Paris Review. D’Arcangelo is better known for his pictures of highways and roadblocks, which pictured deep perspectival vistas in a simplified, flat plane, the view as seen from the driver’s seat as one zooms along the seemingly never-ending American highway in most any state. Next came a series “Barriers,” in which cropped, abstracted imagery of road barriers were superimposed over the one-point perspectival highway vistas. These were a move further towards concern with abstract, two-dimensionality without negating the element culled from seen aspects of the American landscape. The series called “Constellations” (there are 120 in all) further abstracted the view of road barriers into perspectival, jutting patterns thrusting across the canvas against a white ground. The element of the seen is never obliterated and always primary in D’Arcangelo’s dialectic, as amply evidenced in his return to highway imagery in the 1970s.
