Savarin 2
26 x 20 1/2 inchesSavarin 2
(ULAE 192)
1978
lithograph on Richard de Bas paper
paper: 26 x 20 inches
image: 18 ¾ x 13 1/8 inches
edition: 42 with 5 AP's & 3 PP's
signed and dated lower right, numbered
lower left, in pencil
ULAE Blindstamp bottom left
published by ULAE, 1978, West Islip, New York
printed by Bill Goldston, James V. Smith, Keith Brintzenhofe
Literature
Richard Field, The Prints of Jasper Johns 1960-1993: A Catalogue Raisonne, ULAE, New York, 1994, Catalogue Reference ULAE 192, n.p., another impression reproduced in full-page color.
Museum Collections
Walker Art Center, Minneapolis
Museum of Modern Art, New York
The Broad Collection, Los Angeles
Additional Photos
Jasper Johns made a life-size painted bronzed sculpture based on a Savarin coffee can that he used to hold paintbrushes in his studio. The Savarin can, which may be interpreted as a surrogate for Johns, debuted in his work as a painted bronze sculpture in 1960. He returned to the image in mid-1970's with a series of prints exploring variations on the Savarin Can.
JASPER JOHNS SAVARIN WASH & LINE
Jasper Johns made a life-size painted bronzed sculpture based on a Savarin coffee can that he used to hold paintbrushes in his studio. The Savarin can, which may be interpreted as a surrogate for Johns, debuted in his work as a painted bronze sculpture in 1960. He returned to the image in mid-1970's with a series of prints exploring variations on the Savarin Can.
In 1978, Johns remarked, "In my early work I tried to hide my personality, my psychological state, my emotionsbut eventually it seemed like a losing battle. Finally one must drop the reserve." For much of Johns' career, he masked his p ownresence in his art with subjects like Flags, Targets, and Maps. It is only the "painterly-ness" that hints to the artist's hand. In Savarin though, Johns begins to reveal himself. Through his handling of the materials, Johns invoked the traditional art historical subject of an artist in his/her atelier or studio. Johns resisted painting a traditional self-portrait, and instead, he substituted his instruments for himself. In the Savarin works Johns placed the Savarin can/himself as the dominate object/subject. He displays the tools used in art making as an extension if himself.
An impression of Johns Savarin was included in Focus: Jasper Johns Dec 5, 2008–Feb 16, 2009 at the Museum of Modern Art, New York
Another impression of Jasper Johns' Savarin was included in Jasper Johns: Mind/Mirror, the simultaneous Jasper Johns retrospective jointly organized at the Philadelphia Museum and The Whitney Museum of American Art. This massive exhibition which took place simultaneously in both museums was the largest retrospective exhibition ever devoted to the Artist. From his iconic flags to lesser-known and recent works, the exhibition will feature paintings, sculptures, drawings, and prints-nearly 500 artworks across the two museums, many of which are from Johns’s personal collection and will be shown publicly for the first time. Inspired by the Jasper Johns’ long-standing fascination with mirroring and doubles, each half of the exhibition will act as a reflection of the other, inviting viewers to look closely to discover the themes, methods, and coded visual language that echo across the two venues.
