Linoleum Cut Prints

Page 2 of 4
Ksenija Pecaric, Julian Dourado, Peter Lendvai, Andrew Christen, Lauren Strawn, Ken Hillberry, Franni Vandeusen, David Sananman, Aldona Kaczmarczykkolucka, Maria Lucia Pacheco, Theo Radic offering original Linoleum Cuts artworks.


Contemporary Art / Linoleum Cuts / Previous / Next
Julian Dourado: 'Cat and Sofa', 1996 Linoleum Cut, Surrealism. A graphic demonstration of what sometimes happens when you fall asleep on a Sunday afternoon after a heavy meal.  Themes Surrealism, expressionism, cat, sofa, sleep, dream. ...
Surrealism - Linoleum Cut
25 x 21 cm (9.8 x 8.3 inches)
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Julian Dourado: 'Pointing at the Black Sun', 2008 Linoleum Cut, Other. When someone points out the black sun for us, it would be foolish to look at the finger - - but what exactly is it we should be looking at - - is it the sun at midnight, the purging of the soul, The Selfs shadow, The Cloud of Unknowing, Spirit imprisoned in matter, ...
Other - Linoleum Cut
30 x 21 cm (11.8 x 8.3 inches)
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Peter Lendvai: 'Messenger', 2009 Linoleum Cut, Marine.
, 2009
Marine - Linoleum Cut
503 x 703 mm ( x )
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Andrew Christen: 'Burlington, IA', 2008 Linoleum Cut, Abstract Landscape.
Abstract Landscape - Linoleum Cut
0 x 0 inches (0.0 x 0.0 cm)
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Peter Lendvai: 'Tafola Whale', 2008 Linoleum Cut, Marine.  I designed the whale with Samoan patterns. I try to give a local meaning to the whale. ...
Marine - Linoleum Cut
48 x 32 cm (18.9 x 12.6 inches)
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Lauren Strawn: 'Dancer Study', 2009 Linoleum Cut, Abstract.
Abstract - Linoleum Cut
10 x 20 inches (25.4 x 50.8 cm)
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Lauren Strawn: 'Ripe Fruit', 2009 Linoleum Cut, Portrait.
, 2009
Portrait - Linoleum Cut
24 x 12 inches (61.0 x 30.5 cm)
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Lauren Strawn: 'Civil War Portait', 2009 Linoleum Cut, History.
History - Linoleum Cut
10 x 12 inches (25.4 x 30.5 cm)
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Ken Hillberry: 'Family Tree', 2001 Linoleum Cut, Wildlife.  Multiple images and subtle difference in ink tone provide an adhesive and interesting composition.  ...
Wildlife - Linoleum Cut
14 x 20 inches (35.6 x 50.8 cm)
Ken Hillberry: 'Face to Face', 2001 Linoleum Cut, Wildlife.  The facial expression captured closely favors my own.The process and result is as impressionistic and unpredictable as the nod it composes.  ...
Wildlife - Linoleum Cut
12 x 10 inches (30.5 x 25.4 cm)
Franni Vandeusen: 'War', 2007 Linoleum Cut, Undecided.
, 2007
Undecided - Linoleum Cut
0 x 0 inches (0.0 x 0.0 cm)
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David Sananman: 'Hedgehog', 2001 Linoleum Cut, Abstract.  Hedgehog 16x20 linocut, serigraph on kitikata 2001. Edition of 10 ...
, 2001
Abstract - Linoleum Cut
20 x 16 inches (50.8 x 40.6 cm)
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Aldona Kaczmarczykkolucka: 'Sisters of Mercy', 2008 Linoleum Cut, People.
People - Linoleum Cut
30.5 x 46 cm (12.0 x 18.1 inches)
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Aldona Kaczmarczykkolucka: 'Our Lady of Solitude', 2008 Linoleum Cut, People.
People - Linoleum Cut
30.5 x 46 cm (12.0 x 18.1 inches)
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Aldona Kaczmarczykkolucka: 'Women  Fashion  Epoques  6', 2006 Linoleum Cut, Fashion.
Fashion - Linoleum Cut
20 x 27 cm (7.9 x 10.6 inches)
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Aldona Kaczmarczykkolucka: 'Women  Fashion  Epoques  4', 2006 Linoleum Cut, Fashion.
Fashion - Linoleum Cut
20 x 27 cm (7.9 x 10.6 inches)
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Aldona Kaczmarczykkolucka: 'Women  Fashion  Epoques  3', 2006 Linoleum Cut, Fashion.
Fashion - Linoleum Cut
20 x 27 cm (7.9 x 10.6 inches)
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Aldona Kaczmarczykkolucka: 'Women  Fashion  Epoques  2', 2006 Linoleum Cut, Fashion.
Fashion - Linoleum Cut
20 x 27 cm (7.9 x 10.6 inches)
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Aldona Kaczmarczykkolucka: 'Women  Fashion  Epoques  1', 2006 Linoleum Cut, Fashion.
Fashion - Linoleum Cut
20 x 27 cm (7.9 x 10.6 inches)
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Aldona Kaczmarczykkolucka: 'Nancy', 2008 Linoleum Cut, People.
, 2008
People - Linoleum Cut
30.5 x 46 cm (12.0 x 18.1 inches)
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Maria Lucia Pacheco: 'O descanso', 2005 Linoleum Cut, Figurative.
, 2005
Figurative - Linoleum Cut
30 x 20 cm (11.8 x 7.9 inches)
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Maria Lucia Pacheco: 'Mirinho', 2007 Linoleum Cut, Figurative.
, 2007
Figurative - Linoleum Cut
20 x 30 cm (7.9 x 11.8 inches)
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Maria Lucia Pacheco: 'Flautista', 2007 Linoleum Cut, Figurative.
, 2007
Figurative - Linoleum Cut
30 x 20 cm (11.8 x 7.9 inches)
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Maria Lucia Pacheco: 'Mulher com sombrinha', 2007 Linoleum Cut, Figurative.
Figurative - Linoleum Cut
30 x 20 cm (11.8 x 7.9 inches)
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Lauren Strawn: 'Religion As Metaphor III', 2008 Linoleum Cut, Religious.
Religious - Linoleum Cut
18 x 28 inches (45.7 x 71.1 cm)
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Maria Lucia Pacheco: 'Primavera', 2005 Linoleum Cut, Figurative.
, 2005
Figurative - Linoleum Cut
30 x 20 cm (11.8 x 7.9 inches)
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Maria Lucia Pacheco: 'Comadres', 2007 Linoleum Cut, Expressionism.
, 2007
Expressionism - Linoleum Cut
30 x 20 cm (11.8 x 7.9 inches)
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Theo Radic: 'Brazil', 2005 Linoleum Cut, Abstract. Hand- printed...
, 2005
Abstract - Linoleum Cut
20 x 15 cm (7.9 x 5.9 inches)
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Theo Radic: 'The painters lyre', 2000 Linoleum Cut, Music.   15. 0 ...
Music - Linoleum Cut
15 x 20 cm (5.9 x 7.9 inches)
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Theo Radic: 'Kiwi', 2000 Linoleum Cut, Abstract. Hand- printed...
, 2000
Abstract - Linoleum Cut
15 x 20 cm (5.9 x 7.9 inches)
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(Page 2 of 4) - MORE ARTWORKS

Artists Describing Their Art:

Peter Lendvai - &...

Andrew Christen - My decision to focus on printmaking has a lot to do with my upbringing in central Nebraska, where I grew up on a small farm. I spent most of my time playing, fishing, and working outdoors. I learned to drive a tractor at age six and began to pick up pipe, cut grass, hoe beans - typical farmboy work. I learned to appreciate hard work and working with my hands. Printmaking allows me to relive that experience--the physical exertion of rubbing and pulling a print by hand is some of the most rewarding work I do. My upbringing taught me to appreciate not just the product of work, but the process itself. At 18, I went to work in a slaughterhouse in Lexington, where I learned plumbing, welding, electrical and mechanical systems, and honed my carpentry skills. This craftsmanship--the ability to appreciate both the result of a hard day's work and the experience of the work itself--translates to the materials, tools and processes of printmaking today. This is especially true when I cut my blocks for my prints. Understanding how certain woods will react to being carved allows me to enhance the visual experience, and at the ...

Ken Hillberry - In art and in life, dynamics of balance, integrity and tolerant interaction of all elements or participants ought to be see, experienced and maintained. At the same time, the challenge of affecting this balance is creatively encountering all changes and adapt accordingly. For some, the destination or pre-determined outcomes are sought more often than not. Then there are some who savor the journey, thus witnessing and enjoying developments along the way. I fall into the latter category. It's like watching the film develop in a darkroom. the image takes form a little at a time right before my eyes. The creative process, for me, is void of pressure and timeless. The ability and practice and discipline are central in my approach. My creative intent is to engage a viewer in thought and emotion, as well as, with their eyes. Using imagination, retrospect or model, my range of composition can be conceptual, perhaps impressionistic or abstract in application, but always developed to evoke an awareness and appreciation for the relative conditions in life experience and art form as I incisively or playfully interpret my experiences along the way. ...

David Sananman - My artwork, across different mediums, is about exploring the dimension not visible to our eyes. I am trying to bring forth into physical reality images and animation that comes from within my mind. Through the different mediums of painting, printmaking, and animation I get to discover the strengths of those particualar artmaking techniques and apply it to my abstract work. Much of my work is simply applying what I have learned of art's essences such as color, composition, technique, and theory. I derive a great sense of fun and mystery that I hope others will also form their own impressions from looking at my work....

Theo Radic - Everyone experiences drawing and painting as children. I was perhaps one year old therefore when I was first initiated into the painter's craft. I continued these universal beginnings throughout my school years and sporadic courses in college (which gave me few insights into this art). [...] I had only myself as a teacher in the art of painting. My evolution as a painter paralleled that of art history in general, beginning with my prehistoric period as a one-year-old-clutcher-of-crayolas, groping through Egyptian and Greek periods; a Renaissance period; and then neo-classicism, romanticism and naturalism; impressionism and fauvism; cubism and abstract expressionism. At nineteen I went to Europe, thirsty for scope and depth in Art which America lacks. Having established myself in the south of France, I absorbed the emanations of the modern masters who had lived and painted there. I was profoundly moved by the bizarre snow storm over La Cote d'Azur on the night of Picasso's death. No such storm had ever been seen before in April, as old-timers in Nice told me. [...] Fully acknowledging my debt to 'abstract expressionism', I nonetheless do not consider my art'abstract' - a word ...