This woodcut print by Rebecca Salter PRA celebrates the 250th anniversary of the Royal Academy of Arts.
Salter often uses traditional Japanese woodblock printmaking techniques to create the subtle, light-filled imagery of her distinctive prints. Although not seen is a laser-cut woodblock print, the artist’s visual language explores similar territory.
Produced in a limited edition of 30, each print is signed and numbered by the artist.
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Salter developed this particular work after reading a letter from the Royal Academy archives. The letter that captured Salter’s imagination was written by Gainsborough in Bath around 1770 to his great friend William Jackson, a composer. Gainsborough wrote that he had heard Jackson was unwell and he offers to help. In concluding his letter, he laments that in his haste he has spoilt a fine piece of drawing paper.
"My work is incredibly detailed, obsessive really, and there’s a correlation between the time it takes for me to make works and time it takes people to look at them. There’s a term in Japanese: “your eyes sit”. It means that you stop actively looking – the muscles in your eyes relax, you start seeing things in a much more receptive way because you’re not as active in the way that you’re looking. So that’s what I want people to do."
The RA Editions programme generates valuable revenue for the RA and in particular the RA Schools.
Rebecca Salter often utilises traditional Japanese woodblock printmaking techniques to create the subtle, light-filled imagery of her distinctive prints. Although not seen is a laser-cut woodblock print, the artist’s visual language explores similar territory. Salter developed this particular work after reading a letter from Gainsborough which is archived at the Royal Academy. The letter that captured Salter’s imagination was written by Gainsborough in Bath around 1770 to his great friend, William Jackson, a composer. Gainsborough wrote that he had heard Jackson was unwell and he offers to help. In concluding his letter, Gainsborough laments that in his haste he has spoilt a fine piece of drawing paper. This work is signed, numbered and dated on the reverse.
All proceeds from sales of this work go directly to support the non-profit-making areas of the Royal Academy, particularly the RA Schools.
About Rebecca Salter PRA
Rebecca Salter PRA is the current President of the Royal Academy of Arts. She studied at Bristol Polytechnic and then at Kyoto City University of the Arts in Japan, where she lived for six years. While living in Kyoto she studied traditional Japanese woodblock printing with Professor Kurosaki Akira and has since written two books on the subject. Her interest...
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https://shop.royalacademy.org.uk/not-seen-by-rebecca-salter-ra27623not seen.https://shop.royalacademy.org.uk/media/catalog/product/r/e/rebecca_salter_not_seen.jpg475475GBPInStock/Art/All Artworks/Art/All Artworks/RA Editions/Art/All Artworks/Own Art/Art/All Artworks/Art under £500273278663778<p>This woodcut print by Rebecca Salter PRA celebrates the 250th anniversary of the Royal Academy of Arts.</p>
<p>Salter often uses traditional Japanese woodblock printmaking techniques to create the subtle, light-filled imagery of her distinctive prints. Although <em>not seen </em>is a laser-cut woodblock print, the artist’s visual language explores similar territory.</p>
<p>Produced in a limited edition of 30, each print is signed and numbered by the artist.</p> <div data-content-type="row" data-appearance="contained" data-element="main"><div data-enable-parallax="0" data-parallax-speed="0.5" data-background-images="{}" data-element="inner" data-pb-style="61DD3E66ECDA9"><div data-content-type="text" data-appearance="default" data-element="main" data-pb-style="61DD3E66ECDB1"><p>Salter developed this particular work after reading a letter from the Royal Academy archives. The letter that captured Salter’s imagination was written by Gainsborough in Bath around 1770 to his great friend William Jackson, a composer. Gainsborough wrote that he had heard Jackson was unwell and he offers to help. In concluding his letter, he laments that in his haste he has spoilt a fine piece of drawing paper.<br><br><em>"My work is incredibly detailed, obsessive really, and there’s a correlation between the time it takes for me to make works and time it takes people to look at them. There’s a term in Japanese: “your eyes sit”. It means that you stop actively looking – the muscles in your eyes relax, you start seeing things in a much more receptive way because you’re not as active in the way that you’re looking. So that’s what I want people to do."</em></p>
<p><em><br><br></em>The RA Editions programme generates valuable revenue for the RA and in particular the RA Schools.​​</p></div></div></div><div data-content-type="row" data-appearance="contained" data-element="main"><div data-enable-parallax="0" data-parallax-speed="0.5" data-background-images="{}" data-element="inner" data-pb-style="61DD3E66ECDB5"><div data-content-type="html" data-appearance="default" data-element="main" data-pb-style="61DD3E66ECDB9"><p>Rebecca Salter often utilises traditional Japanese woodblock printmaking techniques to create the subtle, light-filled imagery of her distinctive prints. Although not seen is a laser-cut woodblock print, the artist&rsquo;s visual language explores similar territory. Salter developed this particular work after reading a letter from Gainsborough which is archived at the Royal Academy. The letter that captured Salter&rsquo;s imagination was written by Gainsborough in Bath around 1770 to his great friend, William Jackson, a composer. Gainsborough wrote that he had heard Jackson was unwell and he offers to help. In concluding his letter, Gainsborough laments that in his haste he has spoilt a fine piece of drawing paper. This work is signed, numbered and dated on the reverse.</p>
<p>All proceeds from sales of this work go directly to support the non-profit-making areas of the Royal Academy, particularly the RA Schools.</p></div></div></div><style>#html-body [data-pb-style="61DD3E66ECDA9"]{justify-content: flex-start; display: flex; flex-direction: column; background-position: left top; background-size: cover; background-repeat: no-repeat; background-attachment: scroll; border-style: none; border-width: 1px; border-radius: 0px; margin: 0px 0px 10px; padding: 10px;}#html-body [data-pb-style="61DD3E66ECDB1"]{border-style: none; border-width: 1px; border-radius: 0px; margin: 0px; padding: 0px;}#html-body [data-pb-style="61DD3E66ECDB5"]{justify-content: flex-start; display: flex; flex-direction: column; background-position: left top; background-size: cover; background-repeat: no-repeat; background-attachment: scroll; border-style: none; border-width: 1px; border-radius: 0px; margin: 0px 0px 10px; padding: 10px;}#html-body [data-pb-style="61DD3E66ECDB9"]{border-style: none; border-width: 1px; border-radius: 0px; display: none; margin: 0px; padding: 0px;}</style>00add-to-cartartist_name:Rebecca Salter PRAstore_type:ArtRebecca Salter PRAArtWoodcut23 x 23cmNo30