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JASPER JOHNS (b. 1930)

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<div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div>
<div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div> <div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div> <div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div> <div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div> <div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div> <div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div> <div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div> <div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div> <div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div> <div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div>
Cicada198135 x 26 in.(88.9 x 66.04 cm) colored lithograph
Provenance
Brian Gross Fine Art
Private Collection

60,000

Jasper Johns’ Cicada (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.


 


Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.


 


Impressions of Cicada are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.
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