An original hand-signed Antani Tapis lithograph print.
Original lithograph printed in colors on wove paper bearing a portion of the “ARCHES” block-letter watermark
Hand-signed in pencil lower right Tapies.
A superb example of the definitive state, from the edition of 300, numbered in pencil lower left. One of twenty-four original prints by a variety of artists (Jim Dine, James Rosenquist, Robert Rauschenberg, Rufino Tamayo, Victor Vasarely, Christo, Yaacov Agam, Pierre Soulages, Mihail Chemiakin, Mimmo Paladino, Tapies, Eduardo Chillida, Pierre Alechinsky, Sandro Chia, Park Seo-Bo, Kim Tschang-Yuel, Lee Bann, Nam Kwan, Kim Ki-Chang, Kazuo Shirago, A.R. Penk, Jose Luis Cuevas, Zao Wou-Ki, Jean-Paul Riopelle) issued in the album Official Arts Portfolio of the XXIVth Olympiad, Seoul, Korea Published by Lloyd Shin Fine Arts, Inc., Chicago; printed by Galerie Lelong, Paris.
The winner of the 1958 Carnegie Prize, Tàpies has had major shows at The Museum of Modern Art (NY), The Guggenheim Museum (1962, 1995), The Museum of Contemporary Art (Chicago), the Musée d’Art Moderne (Paris), the new Jeu de Pomme (1994, Paris; 304-page catalog published Paris: Reunion des Musees Nationaux, 1994), the Hayward Gallery (London), the Louisiana Museum (Copenhagen), the Albright-Knox Art Gallery (Buffalo), the Nationalgalerie (Berlin), and many others. Sir Roland Penrose’s Tàpies concludes by noting that “the ultimate purpose . . . [of Tàpies’ art] is transcendental” and that his “deepest hope is of the transformation of mankind” through his art, which unveils “a cosmogony in which nothing whatsoever is mean.” As Tàpies has written himself, he seeks “to remind man of what in reality he is, to give him a theme for reflection, to shock him in order to rescue him from the madness of inauthenticity and to lead him to self-discovery.” In a New York Times review of Tàpies’ 1995 retrospective at the Guggenheim Museum in NYC, Alan Riding suggests that Tàpies works show an attempt to “reach ultimate reality through introspection . . . to achieve ‘the ultimate mysterious unity’ that links the entire universe.” Acclaimed by Robert Motherwell as the greatest living European artist shortly before Motherwell died, Tàpies made printmaking one of his central activities and his prints have always been recognized as a major part of his oeuvre; they were celebrated in a retrospective organized by The Museum of Modern Art in 1991 that circulated to a number of museums in the US, Central and South America from 1991 to 1993. In connection with their show, the Museum of Modern Art published Tàpies in Print (a retrospective of his prints and illustrated books, showing about 100 works), probably the best introduction to his graphic works.