Monoprints

Page 3 of 8
Rachel Dimicco, Ken Hillberry, Michelle Mendez, Dana Zivanovits, Daya Bonnie Astor, Alessandro Passerini, Carmine Santaniello, Sarah Hauser, Jerry Di Falco offering original Monoprints artworks.


Contemporary Art / Monoprints / Previous / Next
Rachel Dimicco: 'Root Synthesis', 2009 Monoprint, Undecided.  Silkscreen, woodcut, oil, and cut paper on Thailand Mulberry Paper. Custom built pine frame. Sits off the wall allowing light to pass the material. ...
Undecided - Monoprint
3 x 6 feet (0.91 x 1.83 m)
Ken Hillberry: 'Tree Dimensions 4', 1999 Monoprint, Abstract Landscape.  This is the fourth proof in a series of hand- pulled prints commemorating the tree, as with a previous image, it depicts the awe of it' s natural strength and seasonal beauty. ...
Abstract Landscape - Monoprint
11 x 12 inches (27.9 x 30.5 cm)
Ken Hillberry: 'Tree Dimensions 11', 2000 Monoprint, Abstract Landscape.  This piece is one of a body of work, which focused on the appeal of the tree as natural force and its beauty as used in the holiday venue. This is the eleventh proof in the run of 12 hand- pulled prints. ...
Abstract Landscape - Monoprint
12 x 12 inches (30.5 x 30.5 cm)
Michelle Mendez: 'Lemon', 2008 Monoprint, Botanical. Monoprint, ghost print ( 2nd run) is lighter, printed on rice paper...
, 2008
Botanical - Monoprint
16 x 22 inches (40.6 x 55.9 cm)
Michelle Mendez: 'Water Hyacinth 3 Goldfish', 2008 Monoprint, Botanical. 3 goldfish and water hyacinth from sketches done at the Wellesley College greenhouse, printed on rice paper, 1 print only, inspired by Asian printmaking theme...
Botanical - Monoprint
22.5 x 16.5 inches (57.1 x 41.9 cm)
Dana Zivanovits: 'LOOK UP', 2004 Monoprint, nudes.  This is the first of a 2 print edition [ 1/ 2] monotype pulled fron an inked glass plate and watercolor added. A signed, dated and numbered Zivanovits original on Japanese rice paper mounted on Arches all cotton acid free paper. Image 6
, 2004
nudes - Monoprint
12 x 11 inches (30.5 x 27.9 cm)
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Daya Bonnie Astor: 'Gondola Due', 2007 Monoprint, undecided.
undecided - Monoprint
8 x 10 inches (20.3 x 25.4 cm)
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Daya Bonnie Astor: 'Gondola', 2007 Monoprint, Abstract.
, 2007
Abstract - Monoprint
10 x 8 inches (25.4 x 20.3 cm)
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Alessandro Passerini: '2mila6', 2006 Monoprint, Portrait.  A portrait for my friend Mila. ...
, 2006
Portrait - Monoprint
70 x 50 cm (27.6 x 19.7 inches)
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Alessandro Passerini: 'AliCiccirinella', 2007 Monoprint, Portrait.  A portrait for my friend Alice. ...
Portrait - Monoprint
70 x 50 cm (27.6 x 19.7 inches)
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Alessandro Passerini: 'EliSogna', 2007 Monoprint, Portrait.  A portrait for my friend Elisa. ...
, 2007
Portrait - Monoprint
70 x 50 cm (27.6 x 19.7 inches)
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Alessandro Passerini: 'FedeMaterna', 2007 Monoprint, Portrait.  A portrait for my friend Federica. ...
Portrait - Monoprint
50 x 70 cm (19.7 x 27.6 inches)
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Dana Zivanovits: 'TELEPHONE', 2004 Monoprint, nudes.  This is a mono type pulled from a painted glass plate with watercolor additions. Done on all cotton acid free Arche's paper- a signed and dated zivanovits original. Image 6
, 2004
nudes - Monoprint
9 x 6 inches (22.9 x 15.2 cm)
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Dana Zivanovits: 'EVE', 2004 Monoprint, Judaic.  This a monotype impression pulled from a painted glass plate and ink drawing on Arches all cotton archival paper- a one of a kind original signed and dated. Image size; 5
, 2004
Judaic - Monoprint
9 x 10 inches (22.9 x 25.4 cm)
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Dana Zivanovits: 'WARM SEA', 2004 Monoprint, Fantasy.  This a monotype impression pulled from a painted glass plate and ink drawing on Japenese Rice paper mounted on Arches all cotton archival paper- a one of a kind original signed and dated. Image size; 8
, 2004
Fantasy - Monoprint
14 x 12 inches (35.6 x 30.5 cm)
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Carmine Santaniello: 'Blue Mosaic', 2007 Monoprint, Abstract.  From my altered monoprint Mosaic Series ...
Abstract - Monoprint
30 x 16 inches (76.2 x 40.6 cm)
Carmine Santaniello: 'Mosaic Grid IV', 2007 Monoprint, Abstract.  Mosaic Grid of four 12 x 12 inch works.  ...
Abstract - Monoprint
24 x 24 inches (61.0 x 61.0 cm)
Carmine Santaniello: 'Soft Flames', 2007 Monoprint, Abstract.  From my Mosaic Series an altered monoprint. ...
Abstract - Monoprint
20 x 20 inches (50.8 x 50.8 cm)
Carmine Santaniello: 'Terracotta', 2007 Monoprint, Abstract. From my Mosaic series of altered monoprints. ...
, 2007
Abstract - Monoprint
20 x 20 inches (50.8 x 50.8 cm)
Dana Zivanovits: 'SEDUCTION', 2005 Monoprint, Erotic.   This is a mono type pulled from a painted glass plate with watercolor additions on Arches all cotton acid free paper. A signed and dated Zivanovits original. Image size 4
, 2005
Erotic - Monoprint
8 x 8 inches (20.3 x 20.3 cm)
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Sarah Hauser: 'Burro in a Room V', 2006 Monoprint, Animals.  This is a strappo monotype, which is created by painting w/ acrylics on glass, layer by layer and then transferring the entire image to paper. ...
Animals - Monoprint
9 x 12 inches (22.9 x 30.5 cm)
Sarah Hauser: 'Humphrey Knows Things I', 2006 Monoprint, Animals.  This is a strappo monotype, which is created by painting w/ acrylics on glass, layer by layer and then transferring the entire image to paper. ...
Animals - Monoprint
9 x 12 inches (22.9 x 30.5 cm)
Dana Zivanovits: 'DOCTOR', 2004 Monoprint, People.   One of a kind monotype pulled from a painted glass plate with watercolor. A signed and dated Zivanovits original. 1/ 1 on all cotton acid free Arches paper. Image 5
, 2004
People - Monoprint
9 x 8 inches (22.9 x 20.3 cm)
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Dana Zivanovits: 'APRODITE AND THE GOLDEN APPLE', 2006 Monoprint, Mythology.   According to Greek myth Paris, at that time an exiled shepard, is chosen to select  between Aphrodite, Athena and Hera and award the golden apple to the fairest. He choses Aphrodite and hence the start of the Trojan war. One of a kind monotype pulled from a painted glass plate...
Mythology - Monoprint
6 x 8 inches (15.2 x 20.3 cm)
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Dana Zivanovits: 'THE TEMPLE', 2004 Monoprint, Religious.   One of a kind monotype pulled from a painted glass plate with watercolor. A signed and dated Zivanovits original. 1/ 1 on all cotton acid free Arches paper. Image 5
, 2004
Religious - Monoprint
8 x 10 inches (20.3 x 25.4 cm)
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Dana Zivanovits: 'TRIUMPHANT APHRODITE', 2004 Monoprint, Mythology.   The golden apple inscribed
Mythology - Monoprint
7 x 10 inches (17.8 x 25.4 cm)
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Dana Zivanovits: 'BUTTONS', 2005 Monoprint, People.  This is a mono type pulled from a painted glass plate with watercolor additions. Done on all cotton acid free Arche' s paper- a signed and dated zivanovits original. Image 9 1/ 2
, 2005
People - Monoprint
16 x 18 inches (40.6 x 45.7 cm)
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Jerry  Di Falco: 'veil of veronica', 2018 Monoprint, Christian. This one of a kind artwork is executed on authentic, natural Egyptian papyrus. It employs the printmaking genres of intaglio etching and monoprinting. Media includes gesso, water based woodblock inks, acrylic paints, and French oil based etching inks. The work was hand printed by the artist at The Center for ...
Christian - Monoprint
21.5 x 17.5 inches (54.6 x 44.5 cm)
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Jerry  Di Falco: 'magnolia sugar dawning', 2017 Monoprint, Botanical. This multi layered monoprint is executed in water base printing inks on RivesBFK white paper and represents a new experiment by the artist in color and geometric design in nature.  Please note that the work is sold without mat, or frame.  The paper size is eighteen by twenty two inches.  ...
Botanical - Monoprint
18 x 22 inches (45.7 x 55.9 cm)
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Jerry  Di Falco: 'Lace and the Lunar Organsm', 2016 Monoprint, Geometric. This One Of A Kind print was executed on two zinc plates placed side by side on the printing press. The individual plates measured ten inches high by eight inches wide, making the overall image ten- inches high by sixteen inches wide. I employed oil- based etching ink, RivesBFK white ...
Geometric - Monoprint
22 x 15 inches (55.9 x 38.1 cm)
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(Page 3 of 8) - MORE ARTWORKS

Artists Describing Their Art:

Rachel Dimicco - The concept of my work was conceived from pondering the unexplainable, unrepeatable occurrences in the natural world. This concept was then studied through the spontaneous intuitive processes of interaction between the fragile and irreducible materials and environmental components. The process was motivated by exploring the deterioration of natural elements. My work's intent was to alter how the elements of nature are viewed through conjoining atmospheric elements and natural phenomena. ...

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. ...

Ken Hillberry - Dana Zivanovits - Dana Zivanovits was born in 1958 in Columbus, Ohio and received his art training from the Columbus College of Art and Design (1978 to 1982). After art school, he went abroad for a year and studied the art of the old masters in London, Paris, Madrid, Rome and Venice. Returning to his studio in Columbus to develop these influences into a new body of work, he then traveled to Mexico and studied the sculpture and painting of that country for an extended period. The unique and vivid colors of Palenque and Vera Cruz intensified his palette. After a period in Ohio, he then moved to Venice Beach, California where the brilliant light of the region reinforced his desire to capture effects of sunlight and atmosphere. Returning to Ohio in 1995, he has continued to paint themes deriving inspiration form sources such as world mythology, classic and B-grade cinema, literature and dreams. However his primary inspiration is direct observation from nature, versus an approach based in art theories or cultural critique. Dana has been widely represented by galleries and exhibition projects including Julie Rico and Mega Boom in Los Angeles, the Venice Art Detour, Around the Coyote Festival in Chicago ...

Daya Bonnie Astor - Summer 2009 Venezia- I am exploring movement. This is a play on words of "women's movement". I examine legs as a symbol of women moving forward to a goal. Legs can dance, walk, take steps (physical and mental); legs move in space. I am using mixed media (fabrics, canvas, paper, paints). The body of work is title "La Gambe che Supports" (the leg which supports). My series of fourteen works shows legs not interacting with any artifacts which would describe place, home or activity, besides movement. I sue color and texture to show variations and emotions within the legs. Another level of complexity for my artwork is site specific: Venice is fragile. Venice is a pedestrian city. Everyone walks, moves on fragile land. Workers commute to the lagoon, even the indigent and street vendors commute to select places to interact with the tourists. Since the ground is uneven here, one must pay attention to stones, concrete and the elements which make up our pedestrian surface. One must also pay attention to our support, our legs. Legs have expression, perhaps not as refined as hands and arms, and one can red expressions in legs. My subjects, women, walk through unifying ...

Carmine Santaniello - MOSAICS: Altered Monoprints: A multi-faceted series of new works create hybrids from an earlier process. Original monotypes are merged to form artworks that are handcrafted mosaic-like weaves of color, shape, texture and movement. Final images are transformed into art on paper with greater depths of aesthetic consistency. ...

Sarah Hauser - My working process involves moving ideas from one medium to another. A drawing may become a print which will become a sculpture -- then the sculpture can inspire drawings which are collaged with printed backgrounds, which gives me further ideas for creating environments composed of many sculpted objects. An important aspect of my work reflects a very direct connection I feel with animals. I am inspired by their emotional transparency and their fascination with any new object or situation: our cat who can be sleeping but becomes fully alert when anything new is brought into the apartment; the squirrel who comes to our fire escape every day to taunt our cat; the tiny sparrow who steals the large chunk of bread in mid-air as it's being thrown to a duck; the dogs that are so delighted to be out on a walk. Since the mid-nineties, I have pursued an ongoing series of drawings, paintings and prints of animals. Some of my newest works are strappo monotypes. Strappo is a process which was developed and taught to me by artist Harold Garde. The image is created by painting with acrylics on glass, then strengthening the surface using many layers ...

Jerry Di Falco - Photography inspires my art and acts as a vital element in my etchings. The images I employ originate from my own photographs, as well as from the images I find from my research into the digital archives of universities, historical societies, libraries, and museums. Upon locating a documented scene I wish to etch, my first step involves the execution of two to five original drawings of the photograph. My collaboration between photography and printmaking allows me the independence to integrate my personal interpretations into the scene. Moreover, I create bridges between the physical and metaphysical visual realities in the same way that a camera intersects with human creativity . . . the nexus between the mechanical and the cerebral art tools. Art unveils everything that we mask behind our belief systems conversely, I strive in my creations to clarify those phenomena we overlook as a result of our egocentric assumptions. Ironically enough, I blame this failure to notice things, a process I label, the phenomenology of connectedness, on todayaEURtms very infatuation with and addiction to the new communicational technologies of social media. My artworks therefore become like windows through which to examine the mysteries of aEURoeeveryday consciousnessaEUR. In fact, my use of ...