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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. B Orange, from "Three Aquatints" portfolio by Robert Mangold, Image 2.

    Robert Mangold

    B Orange, from "Three Aquatints" portfolio, 1979

    Etching and aquatint on wove paper mounted to board

    43.625 x 40.75 in (110.81 x 103.51 cm)

  2. Paper Piece II by Richard Howard Hunt, Image 1.

    Richard Howard Hunt

    Paper Piece II, 1978

    Handmade paper

    16.25 x 21 in (41.28 x 53.34 cm)

  3. Connections by Robert Ecker, Image 1.

    Robert Ecker

    Connections, 1978

    Mezzotint on paper

    10 x 8 in (25.4 x 20.32 cm)

  4. Small Window at Night by Patrick Caulfield, Image 1.

    Patrick Caulfield

    Small Window at Night, 1976

    Screenprint on paper

    39.5 x 29.25 in (100.33 x 74.3 cm)

  5. Chance and Order VI by Kenneth Martin, Image 1.

    Kenneth Martin

    Chance and Order VI, 1976

    Screenprint on paper

    27.625 x 27.625 in (70.17 x 70.17 cm)

  6. The Fifth of Six Images for J by Bernard Cohen, Image 1.

    Bernard Cohen

    The Fifth of Six Images for J, 1976

    Lithograph on paper

    18 x 36.25 in (45.72 x 92.08 cm)

  7. Card House by Peter Winslow Milton, Image 1.

    Peter Winslow Milton

    Card House, 1975

    Etching on paper

  8. Untitled (Self-Portrait) by Leonard Baskin, Image 1.

    Leonard Baskin

    Untitled (Self-Portrait), 1971

    Lithograph on paper

    33 x 22.125 in (83.82 x 56.2 cm)

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About the artist

Lucas Samaras

Greek

1936–2024

Born in Greece, Lucas Samaras emigrated to the United States in 1948 during World War II and the Greek civil war. He settled in New Jersey where he went on to attend Rutgers University (studying under Allan Kaprow and George Segal) and later Columbia University (where he studied art history under Meyer Schapiro). He worked with pastels to make quick, exploratory, geometrical, and haptic forms in rich colors. His interest initially began with self-investigation where he painted a self-portrait from the front and back using a mirror. He stated, “Some artists reject autobiography and psychology, I try to keep them with me, no matter how embarrassing they are."1 Later, he shifted to objects such as cutlery, nails, mirrors, yarn, and feathers, all affixed with liquid aluminum or plaster.