Tree in Winter , ca. 1932
7 x 5 in (h x w)
Etching on wove paper; collection of Ora Hatton Shay

Hatton’s etchings are best understood within the context of the Etching Revival (1860s-ca. 1930). By the end of the eighteenth century, printmaking in the West had fallen largely out of favor as a vehicle for original expression and was relegated mostly to reproductive purposes. In the 1860s European and American proponents of the Etching Revival, such as the American artist James Abbott McNeill Whistler, began to react against this state of affairs as they sought to recover the status printmaking enjoyed during the time of Rembrandt. These artists considered etching to be more authentic and expressive than other printmaking techniques, in part, because of the hand drawn character of its line. Close examination of Hatton’s line work in Tree in Winter, a view from the artist’s kitchen window in Lawrence, Kansas, reveals the technique’s autographic quality. Hatton’s printed lines appear drawn with a directness that records even the slightest tremor of the artist’s hand.

Plus de Gregory Allicar Museum of Art

Rox's World "The Garden" , 2002
8.4 x 9.9 x 0.1 in (h x w x d)
etching on paper; Gregory Allicar Museum of Art, CSU, gift of Polly and Mark Addison, 2013.3.22
Gregory Allicar Museum of Art
Time , 2004
30 x 30 in (h x w)
Screen print on paper; Gregory Allicar Museum of Art, CSU, gift of the artist, 2007.8
Gregory Allicar Museum of Art
XRAY 4 (artichoke half) , 1977-1983
14.1 x 9.6 in (h x w)
Xeroradiography/Archival Inkjet print; Gregory Allicar Museum of Art, CSU, gift of the artist, 2015.3.1
Gregory Allicar Museum of Art
Barracked , 2005
9.5 x 11.5 x 0.1 in (h x w x d)
Chlorophyll print and resin; Gregory Allicar Museum of Art, CSU, museum purchase made possible by the FUNd, 2008.1
Gregory Allicar Museum of Art
Cluster , 2015
60 x 60 in (h x w)
HD digital video projection loop
Gregory Allicar Museum of Art