Graphis 134 [antikvár]

'rai t m' . i i 1. Manuel Gasser Antonio Frasconi I (Deutschet Text: Seite joj] [Texte français: page 513] ¦ Antonio Frasconi, born irv Montevideo in 1919, studied in his native city before going to New York on an Art Students League scholarship in 1945. A prolific woodcut artist, he has produced many outstanding hand-printed limited editions but has also designed postage stamps and even made a prize-winning woodcut film. Exhibitions and awards ate too numerous to mention, and Frasconi will also represent Uruguay at the 1968 Biennale in Venicc. Articles on him appeared in Graphis 77 and 100 {with cover design). He now lives in Nor walk, Conn. EdUor ¦ Antonio Frasconi wurde 1919 in Montevideo geboren und studierte in seiner Heimatstadt, bevor er sich 1945 mit einem Stipendium nach New York begab. Er ist ein sehr produktiver Holzschneider und hat viele auserlesene Handdruckc hergestellt. Daneben hat er auch Briefmarken entworfen und machte sogar einen preisgekrönten Holzschnitt-Film. Seine Ausstellungen und Auszeichnungen sind zu zahlreich, um sie hier aufzuführen. Frasconi wird Uruguay an der 1968 Biennale in Venedig vertreten. Artikel über ihn erschienen bereits in Grapiiis 77 und 100. Ret]. m Antonio Frasconi, nc a Montevideo en 1919. poursuivit ses etudes dans sa ville natale. En 1945, il obtint une bourse et partit pour New York. Excellent graveur sur bois, il imprima a la main de nombreuses et remarquables éditions a tirage limite; il exécuta également des timbres-poste et réalisa un film xyiographique qui remporta un prix, Ses expositions et les récompenses qui lui furent attribuées sont trop nombreuses pour etre mentionnées. Frasconi représentera l'Uruguay a la prochaine Biennale de Venise. Des articles lui ont été consacrés dans Grapiiis 77 et 100. Rédaction 500 The woodcuts of Antonio Frasconi have twice appeared in these pages: in Graphis 55, where Kim Taylor reviewed a selection of them, and in the jubilee number 100, which profited from the fact that its leitmotiv, the sun, is also the artist's favourite subject. Since then Frasco-ni's ouvre has grown considerably, not only in terms of sheer production but also in the treatment of new themes, the exploration of new techniques and the discovery of new applications. The time has therefore come to turn our attention to Antonio Frasconi once more. A glance back over the history of the woodcut since Gauguin, the Nabis and the Expressionists reveals that intense preoccupation with this technique leads in most cases to the development of a markedly personal style and at the same time to a striking impoverishment in thematic scope. In other words, the possibilities of a technique which, though originally primidve, is capable of the greatest refinement are applied by the artist to a comparatively small range of motifs. The result is that the contents become more and more a mere pretext for the encounter with form. This process has perhaps attracted little norice because woodcut artists have almost always been painters and have