The Color Evolution
colored prints through six centuries
colored prints through six centuries
- Anonymous, God Appearing to Moses
- Wolgemut , Christ Heals a Man
- da Trento, The Philosopher
- Goltzius, St. John
- Gaultier, Les Vespres
- Denon, The Abbot Zani
- Janinet, Marie Antoinette
- Janinet, La Prière Interrompue
- Janinet, Venus en Reflexion
- Janinet, Venus Desarment l’Amour
- Janinet, Le Sommeil d’Ariane
- Pollard & Jukes, Vaux-Hall
- Caldwell, The Blue Passion Flower
- Stadler, The White Lily
- Sutherland, American Bog Plants
- Debucourt, La Course, No. 3
- Debucourt, Le Joueur de Cornemuse
- Raffaëlli, L'Actrice en Scène
- Mariani, Woman on a Forest Pathway
- Maurin, Nu de Dos au Miroir
- Aman-Jean, Jeune Fille à La Chevelure
- Auriol, Concours de Dessin du Journal
- Toulouse-Lautrec, Carnot Malade!
- Rivière, La Vague
- Vallotton, Crimes et Châtiments
- Bonnard, Place Clichy
- Ibels, Le Grappin & L'Affranchie
- Roussel, Paysage avec Maison
- Roussel, Amours Jouant
- Müller, Interno (Young Girl with Cat)
- Orlik, View of Mecheln
- DuGardier, Sur la Plage
- Devambez, Poster for Cendrillon
- Robbe, Sardinières au Port
- Beltrand, Le Laboureur
- Delcourt, La Modiste
- Webster , Campo Santa Margarita
- Oppenheimer, The Quartet
- Urushibara , Fruit in a Bowl
- Drewes, Rotterdam
The Quartet
Color lithograph, ca. 1920, 660 x 645 mm., Pabst L-15.
This huge color lithograph presents an almost abstract organization of only the hands, the instruments, the bows and the part books of the Rosé Quartet. The subject is realistically drawn in life size, but arranged without regard for reality, in a three-dimensional pattern. Colored in tones of black, blue, brown and flesh, it is a strikingly effective image. Oppenheimer (who generally signed himself MOPP) made two etchings of the Rosé Quartet, dated 1924 and 1932, as well as etching and painting many other musical subjects. A very fine impression on thick wove paper with unequal margins as published; with flattened crease marks, sometimes in the image, where the print was folded for framing. Pabst mentions that the edition was unsigned but that a few signed proofs exist. The print is reproduced in color on the cover of Pabst’s catalog of Oppenheimer’s graphic work.