Allan D'Arcangelo Rare Vintage Artist Signed Serigraph: "Paris Review"
Artist: Allan D'Arcangelo
Title: Paris Review, Year: 1965
Dimensions: Paper Size: 40 x 26.25 inches | Image Size: 30 x 25 inches
Edition | Medium: Open Edition Artist Signed | Serigraph
About the Art B: Very Good Condition, with signs of handling or age | 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.
Title: Paris Review, Year: 1965
Dimensions: Paper Size: 40 x 26.25 inches | Image Size: 30 x 25 inches
Edition | Medium: Open Edition Artist Signed | Serigraph
About the Art B: Very Good Condition, with signs of handling or age | 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.
