| Categories | |
| Object type | |
| Titles | - Compostion
(generic title)
- 5839
(alternative title)
|
| Materials and techniques | Woodcut |
| Brief description | 'Compostion', 4 colour woodcut, by Fayga Ostrower, 1958 |
| Physical description | Four colour woodcut of an abstract image. |
| Dimensions | - Height: 393.7mm
(Note: Taken from Departmental Circulation Register 1959)
- Width: 590.55mm
(Note: Taken from Departmental Circulation Register 1959)
|
| Marks and inscriptions | '2/30 Ostrower 1958' (Signed in pencil)
|
| Bibliographic references | - Taken from Departmental Circulation Register 1959
- The following reference concerning the artist's involvement with Atelier 17 is from the website associated with 'The Women of Atelier 17: Modernist Printmaking in Midcentury' research project and book by Christina Weyl, 2019:
'Her work became increasingly abstract in the 1950s, and in 1955 she earned a Fulbright Scholarship to travel to New York. During this time, she studied graphic arts at the Brooklyn Museum Art School and at Atelier 17 before its closure in September 1955.2 Ostrower also had a solo show of her etchings, aquatints, and woodcuts at The Contemporaries, held May 9 to 28, 1955.
2. Ostrower was not consistent about her attendance at Atelier 17. In an oral history with Brazilian scholar Maria Teresa Táyora, Ostrower denied she was at Atelier 17. Carlos Martins, however, has uncovered a letter written by Ostrower in 1955 to Jayme Mauricio and published in the Correio da Manhã, in which she states she was working at the Brooklyn Museum Art School and at Atelier 17. In Portuguese, the letter reads: “Estou trabalhando no Brooklyn Museum Art School em artes gráficas e também na técnica de esmaltar metais; fora isso, faço gravuras no Atelier 17, de William Hayter, onde encontrei uma turma bastante boa para trocar impressōes e estimular meu trabalho.”(I'm working at the Brooklyn Museum Art School in graphic arts and also in the technique of enameling metals; other than that, I make prints at William Hayter's Atelier 17, where I found a very good group to exchange impressions and stimulate my work). This letter was reprinted in Lilia Sampaio, “Arte, sentido de vida,” in Carlos Martins, Fayga Ostrower (Rio de Janeiro: Sexante, 2001), 166.'
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