Woodcut26 x 20 inches (66 x 50.8 cm)
Edition of 55
Two Bridges III depicts the iconic imagery of lower Manhattan--the Brooklyn and Manhattan bridges—-lit against the night sky. The imagery
e imagery derives from two previous works that Jacquette worked on from the 50th floor of the Millennium Hotel Downtown, the central section of Two Bridges II (2007-8), an oil painting, and Two Bridges I, a pastel drawing.
Jacquette takes artistic license, rearranging the placement of the bridges. She enlarged the lights on the Brooklyn Bridge, emphasizing its position in the foreground, and adjusted the angling of the bridges caused by the bend in the East River. Jacquette’s representation of electricity at night as luminous orbs or a chain of lights contrasts with the draftsman-like style allowed by the small Japanese tools she uses. Two Bridges III, Jacquette’s 15th woodcut, is printed in a deep indigo blue ink on cream paper in an edition of 55, and offers distinct atmospheric qualities. Two Bridges III, St II is printed in black in an edition of 20. Like the majority of her woodcuts, which Jacquette typically spends a year or more hand-cutting, it is printed in dark ink on Japanese Okawara paper. She prefers this material for its natural contrast and ability to smoothly absorb the dense ink.
Published by Mary Ryan Gallery.
Jacquette takes artistic license, rearranging the placement of the bridges. She enlarged the lights on the Brooklyn Bridge, emphasizing its position in the foreground, and adjusted the angling of the bridges caused by the bend in the East River. Jacquette’s representation of electricity at night as luminous orbs or a chain of lights contrasts with the draftsman-like style allowed by the small Japanese tools she uses. Two Bridges III, Jacquette’s 15th woodcut, is printed in a deep indigo blue ink on cream paper in an edition of 55, and offers distinct atmospheric qualities. Two Bridges III, St II is printed in black in an edition of 20. Like the majority of her woodcuts, which Jacquette typically spends a year or more hand-cutting, it is printed in dark ink on Japanese Okawara paper. She prefers this material for its natural contrast and ability to smoothly absorb the dense ink.
Published by Mary Ryan Gallery.