Black's linocuts reveal a great diversity of approaches and reflect her interest in experimenting with technique. This evocation of mythical water creatures contrasts with her other works shown here, in drawing upon the imagination for its subject and in reducing the forms to near-abstract, rhythmic patterns.
linocut, printed in colour from three blocks on thin ivory laid tissue
18.6 x 28.0 cm blockmark (irreg.); 23.4 x 32.7 cm sheet (irreg.)
Signature & date
Signed l.r. corner beneath blockmark, pencil "... Dorrit Black". Not dated.
Not on display
Shown in 1 exhibition
Australian Collection Focus: Colour, Rhythm, Design - wood & lino cuts of the 20s & 30s, Art Gallery of New South Wales, Sydney, 12 Mar 2010–11 Jul 2010
Referenced in 5 publications
Helen Campbell, Colour, rhythm, design: wood & lino cuts of the 20s & 30s, 'Introduction', pg. 2, Sydney, 2010, 18 (colour illus.).
Helen Campbell, Look, 'Colour, rhythm and design: Wood and lino cuts from a time of great creative vitality', pg. 13-15, Sydney, Feb 2010, 14 (colour illus.).
Stephen Coppel, Linocuts of the machine age: Claude Flight and the Grosvenor school, 'The Australians: Dorrit Black, Ethel Spowers and Eveline Syme', pg. 65-68, England, 1995, 155 (illus.). cat.no. DB 13; NOTE: this is not the AGNSW impression.
Tracey Lock-Weir., Dorrit Black: unseen forces, 'The modern medium: colour linocuts', Adelaide, 2014, 154-5 (colour illus.). 156, 201 (cat. entry). NOTE: this is not the AGNSW impression.
Helen Topliss, Modernism and Feminism Australian Women Artists 1900-1940, 'Dorrit Black and British Modernism', pg. 143-149, Sydney, 1996, 147 (colour illus.), 148. Collection of the Art Gallery of South Australia