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Image of Ceramic

Ceramic

Object Type: Object

Image of Ceramic

Ceramic

Object Type: Object

Image of Construction

Construction

Object Type: Object

Image of Sculpture

Sculpture

Object Type: Object

Image of Graphic - Orr traveled extensively throughout North Carolina to view potential subjects, and he consulted informed citizens on that point. The subjects were finally chosen with Humber's aid and in 1939 Orr began the labor that was to be his first principal concern until 1951. He procedure was to visit each site, viewing it at various times of day so as to choose the fall of the light best for his purpose. Then he returned at that best time to make detailed pencil drawings of the subject. It embraces the architectural slendor of North Carolina in all of its phases, which have been neglected and underestimated through the years. Our state possesses  some of the most outstanding architectural monuments in America and Mr. Orr authenticated their credientials with the transcendency of his genius. He is a draftsman of impeccable fidelity to the minutiae of detail, recording even the slightest deviation in the angles of roofs, the exact number of sawteeth in a pediment and the elaborate ornamentation of a cornice. He is a master of luminosity, pursing lights and shadows down fluted columns, under the eaves of buildings and around the subtle edges of shrubbery and leaves. His treatment of light often displays, like a mirror, the reflected characteristics of its surroundings, as may be see in the etching of the Playmakers Theater at Chapel Hill. He also possesses an unrivaled technique for interpreting textuture, which it be wood, brick or stone, especially the mellowed patina that comes with ageless beauty. It maye be said that Mr. Orr does not make a drawing of a building but a protrait and endows it with personality and enduring life. The fifty subjects which Mr. Orr etched on North Carolina not only compromise the most important work ever executed in the history of our nation on any State of the Union, but it is also a landmark of artistic genius, portraying the disciplined excellence of our taste in architecture, the refinement of our social life and the cultural heritage of our people.

Graphic - Orr traveled extensively throughout North Carolina to view potential subjects, and he consulted informed citizens on that point. The subjects were finally chosen with Humber's aid and in 1939 Orr began the labor that was to be his first principal concern until 1951. He procedure was to visit each site, viewing it at various times of day so as to choose the fall of the light best for his purpose. Then he returned at that best time to make detailed pencil drawings of the subject. It embraces the architectural slendor of North Carolina in all of its phases, which have been neglected and underestimated through the years. Our state possesses some of the most outstanding architectural monuments in America and Mr. Orr authenticated their credientials with the transcendency of his genius. He is a draftsman of impeccable fidelity to the minutiae of detail, recording even the slightest deviation in the angles of roofs, the exact number of sawteeth in a pediment and the elaborate ornamentation of a cornice. He is a master of luminosity, pursing lights and shadows down fluted columns, under the eaves of buildings and around the subtle edges of shrubbery and leaves. His treatment of light often displays, like a mirror, the reflected characteristics of its surroundings, as may be see in the etching of the Playmakers Theater at Chapel Hill. He also possesses an unrivaled technique for interpreting textuture, which it be wood, brick or stone, especially the mellowed patina that comes with ageless beauty. It maye be said that Mr. Orr does not make a drawing of a building but a protrait and endows it with personality and enduring life. The fifty subjects which Mr. Orr etched on North Carolina not only compromise the most important work ever executed in the history of our nation on any State of the Union, but it is also a landmark of artistic genius, portraying the disciplined excellence of our taste in architecture, the refinement of our social life and the cultural heritage of our people.

Object Type: Object

Image of Sculpture

Sculpture

Object Type: Object

Image of Ceramic

Ceramic

Object Type: Object

Image of Ceramic

Ceramic

Object Type: Object

Image of Construction

Construction

Object Type: Object

Image of Graphic

Graphic

Object Type: Object

Image of Graphic

Graphic

Object Type: Object

Image of Graphic - In landscape painting, Marvin Saltszman is trying to get the maximum amount of energy using composition, color, and mark making as ingredients. Nature is a vulgar, organic entity, says Saltzman. Editing and notating, he filters the experience of landscape through his coloring, his intellect, and his record keeping. Many of Saltzman's series since 1987 have used site-specific drawings as an abstract way of recording the experience of looking. He also uses a Hofmannesque nonobjective system of marking squares, circles, arrows, X's- done with yellow ochre on the canvas. These markings are developed in the drawings to move the eye of the viewer away from the constant linear and rectangular divisions of the space of the canvas that the viewer's eye would normally anticipate. Unancticipated placements are selected to give the canvas the maximum amount of energy with regard to color and mark making. The next stage of the process is to make sure that the painting is completely covered with color. The eye and the mind plot the placing of the color all over the canvas. This adhesion of color and composition is what Saltzman refers to as "the total painting system." The next stage is literally to "scribble it up." The scribbles placed over the painting establish its basic color sensibility at this particular stage. This is what might normally be anticipated as the background, but as Saltzman says: "It's not background. It's the surface...part of the surface of the painting." All of Saltzman's color decisions and markings are made from a distance of forty feet from his canvases.

Graphic - In landscape painting, Marvin Saltszman is trying to get the maximum amount of energy using composition, color, and mark making as ingredients. Nature is a vulgar, organic entity, says Saltzman. Editing and notating, he filters the experience of landscape through his coloring, his intellect, and his record keeping. Many of Saltzman's series since 1987 have used site-specific drawings as an abstract way of recording the experience of looking. He also uses a Hofmannesque nonobjective system of marking squares, circles, arrows, X's- done with yellow ochre on the canvas. These markings are developed in the drawings to move the eye of the viewer away from the constant linear and rectangular divisions of the space of the canvas that the viewer's eye would normally anticipate. Unancticipated placements are selected to give the canvas the maximum amount of energy with regard to color and mark making. The next stage of the process is to make sure that the painting is completely covered with color. The eye and the mind plot the placing of the color all over the canvas. This adhesion of color and composition is what Saltzman refers to as "the total painting system." The next stage is literally to "scribble it up." The scribbles placed over the painting establish its basic color sensibility at this particular stage. This is what might normally be anticipated as the background, but as Saltzman says: "It's not background. It's the surface...part of the surface of the painting." All of Saltzman's color decisions and markings are made from a distance of forty feet from his canvases.

Object Type: Object

Image of Ceramic

Ceramic

Object Type: Object

Image of Ceramic

Ceramic

Object Type: Object