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The Suitor, December 1951

June C. Wayne

American, 1918-2011
Lithograph, Edition of 35, No. 13
comp: 27-1/2 x 8 in. (69.9 x 20.3 cm); sheet: 30-7/8 x 11 in. (78.4 x 27.9 cm)
Norton Simon Museum, Gift of the Artist
© June Wayne Trust #1/Licensed by VAGA, New York, NY Reproduction of this image, including downloading, is prohibited without written authorization from VAGA

Not on view

The artist June Wayne made her way to Lynton Kistler’s lithography studio in 1948, within weeks of Clinton Adams’s first visit there. She went at the suggestion of a dear friend, Jules Langsner, a critic for ArtNews and a teacher at the University of Southern California; he had suggested to Wayne that lithography would suit her artistic explorations of space, optics, color and time. Wayne took to the technique immediately, employing it as fluidly as painting or drawing in the rest of her oeuvre. This polyptych (it was intended to be shown with a fourth, horizontal figure above) was developed alongside a group of paintings that employed similar crystalline structure for the figures, within a larger thematic series relating to justice and witnesses. By the time these lithographs were printed, Wayne was already testing the boundaries of the medium—in these works, for example, she sprayed tusche across the stones to get the mist of grays. Her continued interest in the technical advancements of lithography led her away from Kistler later in the decade, a move that would forever change the history of printmaking in America.

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