The Model - Artist and Model. Model in the Studio. by Howard Hodgkin, b.1932

Howard Hodgkin, b.1932
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The Model - Artist and Model. Model in the Studio.

Original softground and brush etching in black ink over a yellow-ochre background. 1980. Signed H.H. in red chalk, and inscribed as PP (Printing Proof) 1/4 - the first printer's proof. Proof before the edition of 100. Drawn in New York, and printed at the Petersburg Press studio, New York 1980. Issued by Petersburg Press.
Ref: Tate Gallery - Howard Hodgkin Prints 1985 no 29

Superb rich impression with brilliant contrasts. On pale cream Stoneridge etching paper. Excellent condition. Printed to the full sheet size, as issued. Sheet: 32 1/4 x 40 7/8ins. (820x1040mm)

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In 1979 Howard Hodgkin drew a series of four large etchings inspired by visits to the Museum of Modern Art in New York. Largely monochrome they use bold brush strokes, incised lines and open-bite textures to create an absolutely extraordinary sense of light. Hodgkin's later work has been almost purely abstract, but in his images of the late 1970's there remains a strong figurative element. In the 'Museum of Modern Art' compositions the structure and form of the image suggests the museum interior with paintings on the wall, the brush, line and ink work is then used to evoke a particular quality of light, a type of abstract development of the way that Monet had used the 'Haystack' theme as a vehicle for investigating light.

Hodgkin's art is very much about personal experiences and the 'Museum of Modern Art' compositions emphasise this quality. They are a reflection of his experience within the museum, and they have a quality of domestic or personal emotion in the expression of light which is akin to the 'intimisme' of painters like Vuillard. This 'intime' quality is very apparent in a monochrome image like that above in which the whole work is an expression of atmosphere.

Whilst usually seen as a great colourist Hodgkin himself has spoken of his personal enjoyment of classic 'black and white' in printmaking, and it is attitudes like this which also place him in the great tradition of 20th century European painter-printmakers.