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Marsha Mateyka Gallery
Exhibition Archive

Aline Feldman
Images from Wood, A Thirty Year Survey
(A catalogue produced in conjunction with this exhibition is available from the Gallery.)
May 16 - July 11, 2015
reception for the artist: Saturday, May 16, 4:00 to 6:00 PM

Press Release

Washington Post Review

Hawaiian Memory, 1985
woodcut, diptych
48 x 64 inches         

Afternoon Sonata, 1988
woodcut, quartet
64 x 96 inches         

Canal (Night), 1987
32 x 48 inches

Midtown Movement, 1989
32 x 48 inches

Moonlit City, 1989
48 x 32 inches

Paradox of Place I, 1995
32 x 24 inches

Paradox of Place II, 1996
32 x 24 inches

Paradox of Place IV, 2003
32 x 24 inches

Loose Ends of the Day, 2000
32 x 48 inches

Night Street, 2003
25.5 x 39.75 inches

Beyond the Trees - Blue, 2004
woodcut with pastel
47.5 x 31.75 inches

Night Field, 2001
26 x 40 inches

Tidal Dialogue, Coast and Water 1, 2014
22 x 31 inches

Tidal Dialogue, Coast and Water 3, 2014
22 x 31 inches

Available works by Aline Feldman

Press Release

"Aline Feldman: Images from Wood, a 30 Year Survey" looks back on an amazing career of a celebrated, award winning artist.  Now 87 years old, Aline Feldman is still going strong, working daily in her studio.  She is well known as a master of the white line woodcut medium.  This exhibition begins with her very large scale prints from the mid 1980's, which rival the size of paintings, and concludes with more intimate scale images from a series begun last year.  The artist has been represented by the Marsha Mateyka Gallery since 1988.  A catalogue will accompany this exhibition.

                                                             "Canal Night", 1987, woodcut, 32 x 48 inches

Aline Feldman prints with watercolor from a single block of wood to create woodcuts of city views and landscapes using expressive color and exuberant forms. Her prints are often panoramic, aerial views.  This perspective flattens her images, which are based on actual places, and frees her to follow abstract shapes, patterns, dynamic rhythms, and color contrasts.  This exhibition includes an outstanding example of this early style, "Afternoon Sonata" (1988), a 4 part woodcut measuring 64 x 96 inches.

"Synthesizing elements from an array of influences, Aline Feldman forged a distinctive vision and method for color woodcuts...  In 1946 Feldman studied art at Washington University in Saint Louis.  She was too young to study with Max Beckman, the eminence grise of the art department but her early paintings and prints were influenced by his style.  Her most influential teacher was Werner Drewes, who conveyed to his students the essential role of art in everyday life.  She learned the techniques of intaglio printmaking from Fred Becker who brought his own mentor, Stanley William Hayter into class to speak to students about engraving."*

"By 1965 she became interested in the white line woodcut technique of the Provincetown printmakers.  Their use of multiple color applications and one board appealed to Feldman and she began a period of experimentation based on the synthesis of the Provincetown techniques and traditional Japanese methods.  The personalized approach coalesced into the white line woodcut technique she uses today."**

Aline Feldman's prints are in numerous museum collections including Nelson-Akins Museum of Art, McNay Art Museum, Honolulu Academy of Art, Santa Barbara Museum and in Washington DC, Smithsonian Museum of American Art, National Museum of Women in the Arts and Library of Congress.

 *Acton, David, "60 Years of North American Prints, 1947-2007", published by The Boston Printmakers, MA, 2009, p.140.

**Arnold, Dr. Karen L., "Perspective, Place, Prints: The World of Artist Aline Feldman" p.2.


The Washington Post
June 20, 2015
Museums / In the Galleries / ALINE FELDMAN
By Mark Jenkins

Among the ploys Aline Feldman learned from Japanese woodcuts is the dramatic vantage point.  Most of the large prints in "Images From Wood, A Thirty Year Survey" at the Marsha Mateyka Gallery gaze down from a high imagined perch. Observed from such an aerial perspective, every vista turns into a color patchwork, whether showing the peaks and fields of "Hawaiian Memory" or the semi-fictionalized Dupont Circle of "Midtown Movement".

Instead of making individual blocks for each color, the Maryland artist carves complete compositions and prints their segments separately, using watercolor paint rather than ink.  The method allows her to blend colors and results in unusually vivid hues. (It means that none of the prints, although done in editions of 15 or 25 is identical).  The most recent works in this retrospective, two "Tidal Dialogues" made last year, employ a less elevated viewpoint and a gentler palette.  They still share, however, Feldman's well-established sense of color and harmony.

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