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全部拍賣 / Arts & Graphics / Edith Kramer Woodcut - Vermont Woods (1972)
Edith Kramer (Austrian born American, 1916-2014). Vermont Woods. Woodcut print on paper, 1972. Hand-signed and dated at lower right. A dense stand of Vermont woods rises in rhythmic silence, where trunks press close and branches interlace like a private language spoken by trees. In this woodblock print, Edith Kramer pares the landscape down to its essential architecture - verticals, diagonals, and the pulsing contrast of black ink against pale paper. The forest feels at once crowded and contemplative, a place where depth is suggested not by distance but by repetition, by the steady insistence of line upon line. Kramer's handling of the woodblock medium is deliberate and physical. Carved marks remain visible, lending the scene a tactile immediacy that mirrors the roughness of bark and the uneven forest floor. Light filters through the composition in fragments, catching on negative spaces between trunks, while darker passages gather into shadowed thickets. Size of print: 16" W x 15.5" H (40.6 cm x 39.4 cm); of paper: 17" W x 18" H (43.2 cm x 45.7 cm) The result is not a picturesque woodland, but a lived-in one - a place to move through slowly, attentive to texture, pattern, and pause. The print reflects Kramers Bauhaus-rooted sensibility, where structure and expression work in tandem rather than opposition. The woods become an ordered field of energy, disciplined yet alive, echoing her belief in form as a means of understanding experience. Here, nature is neither romanticized nor subdued. It stands firm, layered, and quietly absorbing, offering the viewer not escape, but grounding. About the artist: Edith Kramer was born in Vienna, Austria in 1916. Her exploration of art began at the age of 13 when Kramer took classes with Friedl Dicker, a graduate of the Bauhaus in Weimar, Germany. Kramer was greatly influenced by the theories of Bauhaus artist Johannes Itten who developed the preliminary Bauhaus course from 1919 to 1922. After Kramer graduated from Realgymnasium, Vienna in 1934 , she followed Dicker to Prague to continue her studies. Perhaps even more impactful was the time she spent assisting Dicker in teaching art to the children of political refugees. Fearing the Nazi invasion, Kramer sought refuge in the United States. She arrived in New York City in 1938, and taught sculpture at the Little Red School House, one of the city's first progressive schools. During WWII, Kramer worked in a machine shop in Soho. This experience resonated with her Bauhaus education and presented an opportunity to sketch and paint sitters in industrial settings. In addition to being a painter, Kramer was a sculptor, a printmaker, a collage maker, a mosaicist, a professor, and a founder of the Art Therapy movement. Kramer is perhaps best known for her work as a pioneer in the field of Art Therapy. In 1971 she was part of the team that established an Art Therapy program at George Washington University, and she created the graduate program in Art Therapy at New York University in 1973. With her training in art, art education, as well as psychoanalytically informed psychotherapy, Kramer believed that negative emotions and thoughts could be transformed and rechanneled into productive energy through art. She and fellow pioneer Margaret Naumburg set out to champion the new field of Art Therapy. Kramer also believed that art therapists should create their own art in order to deal with the stress and exhaustion of clinical work, so she continued to create her own art. The following is Kramer's statement about art therapy: "I perceive myself as a specialist who combines the general qualifications of being a competent artist with specialized capacities in the field of psychotherapy and education. The theoretical framework of my understanding of child psychology is based in the main on Freudian psychoanalytic thought. The emphasis, however, is on the idea of art as therapy rather than on psychotherapy which uses art as a tool. My therapeutic medium is as old as mankind. Since human society has existed the arts have helped man to reconcile the eternal conflict between the individual's instinctual urges and the demands of society. Thus, all art is therapeutic in the broadest sense of the word. The artist who applies modern psychology in the field of art has to adapt his methods to the medium so that the therapeutic value of art is heightened by the introduction of therapeutic thinking, not destroyed or weakened by the introduction of concepts and methods that might be incompatible with the inner laws of artistic creation. It is not always easy for the art therapist to reconcile the therapist's approach with her function as an artist and teacher. In her function as a teacher who introduces disturbed children or adults into the realms of art, she has to be ready to accept the limitations of the individuals in her care. She has to be interested in progress on any level. She has to be flexible enough to accept and understand a diversity of styles and to find ways of helping each person according to his individual needs. As therapist she has to accept the unbeautiful manifestations of sexual and aggressive impulses in the raw, along with the results of confusions and incomplete sublimation. But this attitude of acceptance, which is essential in all therapy, must not dull the artist's capacity for discrimination. The teacher has to preserve her integrity genuine, between blocks and limitations, regressions and progress, superficial pretense and genuine communication. Even though my therapeutic approach includes awareness of psychic processes that may remain unconscious, the therapeutic maneuvers I am apt to employ seldom include uncovering unconscious material or the interpretation of unconscious meaning. Art therapy is conceived primarily as a means of supporting the ego. It harnesses the power of art to the task of fostering a psychic organization that is sufficiently resilient to function under pressure without breakdown or the need to resort to stultifying defensive measures. Thus conceived, art therapy constitutes an element of the therapeutic milieu that complements or supports psychotherapy but does not replace it. While art therapists encourage unconventional form and content in the art of their patients they are also intent on fostering artistic eloquence. The spoken words in psychotherapy and the play and talk in clinical therapy are typically formless and fluid. Content rather than form is essential. In art therapy form and content are equally important and the order and structure with which artistic creation endows experience constitutes a powerful aid in sorting out and mastering experience. To quote of art Susan Langer (1962): 'The primary function of art is to objectify experience so that we can contemplate and understand it' (p.90)." (source: Edith Kramer website) Item # 197432
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