Han Shan exit 1-6
1992-1993
- Medium
- etching and sugar lift aquatint
- Measurements
- (1) 18.8 × 13.8 cm (plate) 39.0 × 28.5 cm irreg. (sheet)
(2) 18.8 × 13.7 cm (plate) 38.2 × 28.5 cm irreg. (sheet)
(3) 19.0 × 13.8 cm (plate) 38.1 × 28.5 cm irreg. (sheet)
(4) 18.9 × 13.9 cm (plate) 38.5 × 28.5 cm irreg. (sheet)
(5) 18.7 × 13.9 cm (plate) 38.9 × 28.7 cm irreg. (sheet)
(6) 18.9 × 13.9 cm (plate) 38.7 × 28.5 cm irreg. (sheet) - Place/s of Execution
- New York, New York, United States
- Edition
- ed. 29/45
- Printing/Publishing
- printed by Branstead Studio, New York; published by the artist
- Inscription
- (1) inscribed in pencil l.l.: 29.45
inscribed in pencil l.r.: B Marden 93
(2) inscribed in pencil l.l.: 29.45
inscribed in pencil l.r.: B Marden 93
(3) inscribed in pencil l.l.: 29.45
inscribed in pencil l.r.: B Marden 93
(4) inscribed in pencil l.l.: 29.45
inscribed in pencil l.r.: B Marden 93
(5) inscribed in pencil l.l.: 29.45
inscribed in pencil l.r.: B Marden 93
(6) inscribed in pencil l.l.: 29.45
inscribed in pencil l.r.: B Marden 93 - Accession Number
- P94.1-6-1994
- Departments
- International Prints / International Prints and Drawings
- Credit Line
- National Gallery of Victoria, Melbourne
Purchased, 1994 - Gallery location
- Not on display
- About this work
-
In the mid 1980s the art of American Minimalist painter Brice Marden underwent a significant transformation. His newfound interest in Chinese calligraphy and poetry led him to introduce a strong linear element into his abstract paintings, drawings and prints. Marden titled this suite of etchings after the eighth-century Chinese poet Han Shan (also known as Cold Mountain), whose poetry reflected a lifelong pursuit of the Tao – the state of intuitive understanding in which the unity of ‘I’ and ‘other’ are vividly experienced. Marden’s desire to act simply as a receiver and transmitter of the energy of nature can be seen as an aspiration to a Taoist attitude.
