Frederick Sommer 1905-1999
Cut Paper, 1969
11”x14” Vintage silver gelatin print
Signed, titled and dated to verso
(One of only two known 11”x14” prints made of the roughly 35 Cut Paper images)
Signed, titled and dated to verso
(One of only two known 11”x14” prints made of the roughly 35 Cut Paper images)
One of only two known 11”x14” prints made of the roughly 35 Cut Paper images. Frederick Sommer made cut paper drawings from 1962-85. In his own words, Sommer described making...
One of only two known 11”x14” prints made of the roughly 35 Cut Paper images.
Frederick Sommer made cut paper drawings from 1962-85. In his own words, Sommer described making a cut paper, "so I take a big sheet of wrapping paper off a roll and lay it down on the board and very freely, with a knife, make a sensitive looking drawing. This makes a beautiful line, with a flow and precision one would not suspect. I then hang it on a couple of clips and being a well organized guy, I have a camera already standing there. I find myself photographing this sheet which, by then, has become a display of configurations. I usually photograph it in diffused light, but at times I can implement this by adding some side light and give
people the notion I am also interested in drama. But in any case, I do it for my own feelings. In the making of an image, the commitment is to the coherence and development of the first moves. It takes strength to respect what things want to do and to imaginatively graft on a few departures.
Frederick Sommer made cut paper drawings from 1962-85. In his own words, Sommer described making a cut paper, "so I take a big sheet of wrapping paper off a roll and lay it down on the board and very freely, with a knife, make a sensitive looking drawing. This makes a beautiful line, with a flow and precision one would not suspect. I then hang it on a couple of clips and being a well organized guy, I have a camera already standing there. I find myself photographing this sheet which, by then, has become a display of configurations. I usually photograph it in diffused light, but at times I can implement this by adding some side light and give
people the notion I am also interested in drama. But in any case, I do it for my own feelings. In the making of an image, the commitment is to the coherence and development of the first moves. It takes strength to respect what things want to do and to imaginatively graft on a few departures.