William Brice made his first lithograph in 1951, with Lynton Kistler. He did not return to printmaking until taking a faculty position alongside John Paul Jones at UCLA in 1953, when Brice intermittently explored the various methods of intaglio. Despite these limited experiments, the classic Los Angeles modernist painter was thrilled to receive a fellowship to Tamarind Lithography Workshop in 1961–62. He returned there as a guest artist in 1966. In the years since his first print, Brice’s imagery had shifted from the decidedly abstract to a more figurative, modernist approach, as evidenced in Two Figures. The physically and psychologically isolated figures request consideration of their quiet poses, despite the cheery fauve color. The geometric rhythm of the reductive forms and landscape is further exaggerated by the flatness of Brice’s technique, drawing inevitable comparisons to Matisse’s late cutouts.