Print of the Day!! Sat, Mar 23 2024 by Anne Ryan (1889-1954). "Now, Ever Awake, My Dear Master, I Fear a Deadly Storm", color woodcut, proof, 1947.

Print of the Day!! Saturday, March 23 2024. is by Atelier 17 printmaker Anne Ryan (1889-1954).

"Now, Ever Awake, My Dear Master, I Fear a Deadly Storm"; is a color woodcut, done using a single block in 1947. This impression is signed by the artist in white ink in the lower margin. The image measures 8-1/8 x 10-3/8 inches and was printed by the artist in unique proofs on a sheet of black wove paper that measures 19-7/8 x 14-1/8 inches. A reference for this image is the Indianapolis Museum of Art accession #1994.92. The gallery inventory number for this work is 22398.

This experimental color relief print by Anne?Ryan is available from the gallery for purchase.

Check out our virtual booth at the Satellite Print Fair's on-line website: OnPaper.art:?https://onpaper.art/the-annex-galleries?and our website exhibition: 'Women Artists: Known and Unknown':?https://www.annexgalleries.com/exhibitions/view/23? ?

In 1941, Anne Ryan made her first print at Stanley William Hayter's Atelier 17 located in the New School for Social Research in New York. Four years later she explored the technique of color woodcut with Louis Schanker who invited her to join his Vanguard group of printmakers and her work was included in their exhibition at the Brooklyn Museum in 1946.

Print scholar David Acton discussed Ryan's color woodcut on page 176 of A Spectrum of Innovation - Color in American Printmaking, 1890-1969: "Ryan worked in color woodcut between 1945 and 1949. From the beginning of her activity in the medium, she simultaneously created representational pieces and pure abstractions...The color of her paper made the lines of Ryan's single-block woodcuts seem drawn, and her colors achieved a saturation and luminosity from those caused by white papers, the black ground read through the thin layers of ink, and an organic mottled texture was effectively achieved...."

In addition to her visual artistry, Ryan was a poet and author heavily involved in the literary circles of Greenwich Village in the 1920s and 30s. It's possible that she borrowed the title of this piece from poet Samuel Taylor Coleridge's interpretation of The Ballad of Sir Patrick Spens. An English ballad with roots in the 13th century, it tells of a maritime disaster predicted by the sailor Patrick Spens, who eventually goes down with the doomed ship. Several iterations of this ballad have surfaced in popular culture throughout the centuries; Coleridge's "Dejection: An Ode", remains among the most quoted. Written by the poet to a forbidden love, the interpreted stanza reads, "Late, late yestreen I saw the new Moon / With old Moon in her arms; / And I fear, I fear, my Master dear! / We shall have a deadly storm." Anne Ryan, author, poet, painter and printmaker, was born in Hoboken, New Jersey on 20 July 1889 to wealthy Irish parents. She attended a Catholic convent school and then studied literature at St. Elizabeth's College in Convent Station, New Jersey. She married and raised her family yet found time for her writing and her book of poetry, Lost Hills, was published in 1925.

In 1931, Ryan moved to Majorca for four years but returned to New York due to the political unrest in Spain and settled in Greenwich Village. She had a been a poet and writer for her first forty-seven years and with the encouragement of Hans Hoffman began painting in 1938. When Stanley William Hayter opened his Atelier 17 in New York in 1941, Ryan joined the studio and learned the techniques of intaglio. Louis Schanker taught her the techniques of block printing and she joined him in VAN-GUARD, a group of experimental printmakers in New York.? Kraushaar Galleries in New York mounted Color Wood Block Prints by Anne Ryan in December 1957. The accompanying catalogue described her method of working in woodblock as "a simple one." Her designs were cut with small chisels and textures were hammered into the block by various means. Most of her woodcuts were from single blocks and she never used more than three. Her woodcuts were only produced between 1945 and 1949 and then she turned to creating a large body of miniature collages.

The novelist and occasional critic Donald Windham said this of her work: "All her life she was capable of being excited to work by the art of others; at the same time, her character was so rich that what she did immediately became her own." Ryan's work was included in six of the Brooklyn Museum Print Annuals, they were featured at the Betty Parsons Gallery, and were included in the legendary 9th Street Exhibition and the Museum of Modern Art's exhibition Abstract Painting and Sculpture in America in 1951. Anne Ryan died in Morristown, New Jersey on 17 April 1954.

To purchase this work or read a biography for Anne Ryan use this link to our website: https://www.annexgalleries.com/inventory/artist/2073/Ryan/Anne

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