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Non-objective organic forms in two rectangles in colored inks with some line sketched around the rectangular forms.
L'op L'op
Courtesy of the Harn Museum of Art, Photography by Randy Batista

L'op L'op

Artist Max Ernst (German, 1891 - 1976)
Publisher/Publishing House Mourlet
Date1959-1961
MediumColor lithograph
DimensionsPaper: 21 x 17 1/2 in. (53.34 x 44.45 cm)
Image: 18 1/2 x 15 3/8 in. (46.99 x 39.05 cm)
ClassificationsPrints
Credit LineGift of Becky and Marshall New
Object numberPR-72-41
Collections
Visual DescriptionNon-objective organic forms in two rectangles in colored inks with some line sketched around the rectangular forms.
Black and white, black lines, forms on white ground.
Jimmy Ernst
c. 1982
Non-objective color serigraph with blue, yellow, and green inks.
Ronald King
1978
Untitled
Unknown
1979
Portrait of Redon with flower forms in the foreground - inks are red and yellow.
George Lockwood
1958
Flying bird, leaves and branches scattered across image, transparent light blue lines and geometric shapes cover the surface.
Jimmy Ernst
1982
Two rectangles of positive space; each consists of multiple thin, parallel lines; one is darker, the lighter one is very pale and is made up of thinner, more closely spaced lines; both of these are on an off-white ground.
Gene Davis
1980
A completely dark, monochromatic black landscape. A thick horizontal band of vertical lines of grasses spans the center. Above it, a distant silhouetted tree line with a central body of water.
Jimmy Ernst
1983
Three wood blocks stacked vertically create a totemic form of geometric, human, and mechanical forms; also, organic shapes like botanical forms.
Robert C. Skelley
1969
Black on black, form designated by change in surface gloss and texture, but entire piece is black, at top is a darker circle of black, presumably the sun, the landscape is a of vertical and horizontal grasses, tree-shapes on the horizon line.
Jimmy Ernst
1982
A rectangular print divided into a grid of squares. The squares contain textural, cloudy forms in muted greys and off-whites. The mismatched tiles are rearranged, breaking the continuous patterns to create a disjointed, checkerboard composition.
Herb Jackson
undated
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