In the Garden (from the Hosannah Suite) by Harold Persico Paris

In the Garden (from the Hosannah Suite) by Harold Persico Paris

In the Garden (from the Hosannah Suite)

Harold Persico Paris

Title

In the Garden (from the Hosannah Suite)

 
Artist
Year
c. 1955  
Technique
Lucite engraving, printed in colors 
Image Size
11 1/4 x 14 5/8" platemark and paper size 
Signature
in the plate, lower left in relief 
Edition Size
unique impression 
Annotations
 
Reference
Portland 16a / b 
Paper
antique-white wove 
State
proof 
Publisher
artist 
Inventory ID
17524 
Price
$2,500.00 
Description

Paris used lucite, a form of acrylic, engraving tools and solvents to create the plate for this intaglio. The color was applied topically, rubbed or painted directly into the intaglio spaces. The black was printed relief, all in one pass through the press.

In 1952, Harold Paris began the preliminary drawings for what would eventually become a suite of prints entitled "Hosannah". The project was originally titled Eternal Judgment, and Paris was awarded a Guggenheim Fellowship for it in 1953. It wasn't until 1958 that the first version of the suite was completed and exhibited at the Philadelphia Museum of Art. Paris made a total of five suites, completing the final version, known as the Portland Suite, in 1971. This version is unique in that it contains nine accompanying drawings. Paris said of these, "... some of the nine drawings are preparatory sketches for etchings and lithographs while others remain related ideas and drawings only." This version resides at the Portland Art Museum, Oregon Art Institute, Portland, Oregon.

The Hosannah Suite is epical or legendary in its design, and Paris sighted four guiding themes for its creation: "Angelic War, Trial of Man, Fall and Submergence and Hosannah." The word hosannah is defined as a word of praise or adoration, especially in Judaic and Christian use. This should not confuse the reader into thinking that Hosannah is a religious work. It is spiritual and secular, and the ideas and emotions that are expressed by the images are both universal and very personal, relating feelings of anxiety, despair, anguish, and misery.

The first copy of the Hosannah Suite consists of thirty-one prints, three of them being colored. The techniques the artist used are varied; metal intaglios, lithographs, and acrylic engravings, and the sizes of the images are generally large. Individual prints from the suites have found themselves dispersed to different collections including the Library of Congress, and the National Gallery of Art, among others.