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ג'ספר ג'ונס(נולד ב- 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>
ציקדה 1981 ליטוגרפיה צבעונית 88.9 x 66.04 ס"מ ( 35 x 26 אינץ' )
מקור ומקור
בריאן גרוס אמנות יפה
אוסף פרטי

60,000

"ציקדה" (1981) של ג'ספר ג'ונס הוא ליטוגרפיה צבעונית שפורסמה על ידי הוצאת ג'מיני ג'ל במהדורה של 58 הוצאות. הכותרת מעוררת את הופעתו המחזורית של החרק, ומהדהדת את התעניינותו של ג'ונס בהישנות ובטרנספורמציה.





העבודה, שנוצרה בתקופת ה"הצלבה" שלו (1972–1983), מדגימה את המעבר שלו מדגלים ומטרות לעבר מערכות מופשטות של סימון. באמצעות צבע ומרקם מרובדים, ג'ונס בוחן את אפשרויות הליתוגרפיה כמדיום של חזרה וגיוון.





רשמים של הציקדה נמצאים באוספים של המוזיאון לאמנות מודרנית ומוזיאון ויטני לאמנות אמריקאית, דבר המדגיש את חשיבותה במסגרת עבודת ההדפס של ג'ונס.
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