About the Gallery Artists Represented Exhibition Archives Gallery Home Marsha Mateyka Gallery Exhibition Archive On Paper / In Series Works by Mary Frank,  Howard Hodgkin,  Robert Kushner Robert Motherwell  and  Nathan Oliveira June 11 - July 26, 2014 Reviews Mary Frank Equestrian and Standing Nude B, 1982 monoprint 13.5 x 20 inches Equestrian and Standing Nude C, 1982 monoprint 13.5 x 20 inches Howard Hodgkin Sun, More Indian Views, 1976 lithograph, edition: 16/60 8.5 x 11.5 inches Shutter, More Indian Views, 1976 lithograph, edition: 16/60 8.5 x 11.5 inches Palm, More Indian Views, 1976 lithograph, edition: 16/60 8.5 x 11.5 inches Robert Kushner Reclining Woman, 1987 monoprint: drypoint with handwork and collage on paper with fiber pattern edition: #34/36 10.75 x 15 inches Reclining Man, 1987 monoprint: drypoint on handmade paper edition: #4/36 11 x 15.5 inches Robert Motherwell Hollow Men Suite, 1985 edition: #48/49 11 x 11.75 inches A suite of seven lift-ground etchings with aquatint, on handmade paper with Chine-collé.  Printed in the artist's studio by Catherine Mosley. Hollow Men 1 (Belknap #336) Hollow Men 2 (Belknap #341) Hollow Men 3 (Belknap #338) Hollow Men 4 (Belknap #339) Hollow Men 5 (Belknap #340) Hollow Men 6 (Belknap #342) Hollow Men 7 (Belknap #337) Nathan Oliveira Site Castelo Rodrigo #1, 1998 monotype/painting 20.25 x 18 inches Site Oporto II, 1998 monotype/painting 17.75 x 22.25 inches Reviews The Washington Post Sunday, July 13, 2014, E9 "In the Galleries" by Mark Jenkins "On Paper, In Series" As its title suggests, “On Paper, In Series” is a selection of prints.  The centerpiece of the five-artist Marsha Mateyka Gallery show is Robert Motherwell’s “Hollow Men”, a 1985 suite of seven small etchings whose strong black forms rival the power of the artist’s vast canvases. There are also three 1976 “Indian Views” by Howard Hodgkin, notable for their contrast of simple forms and diverse textures. The other items are all one-of-a-kind monoprints, mixing various media.  Robert Kushner’s 1987 “Reclining Woman” is a drypoint on patterned paper, embellished with metallic leaf. Nathan Oliveira’s two earth-toned 1998 works combine printing and painting as they do landscape and abstraction.  The two examples of Mary Frank’s “Equestrian and Standing Nude” series, from 1982, seem photo-based, yet rarefy their juxtaposed images into silhouettes and blacks of mottled color.  Like the work of the other artists, they demonstrate the potential infinity within tiny variations. Back to Top