Chaim Koppelman 

 
Self & Relation / Thoughts & Observations / Couples / Criticism / Napoleon

“We all of us start with a here ever so snug and ever so immediate. And this here is surrounded strangely, endlessly, by a there. We are always meeting this there: in other words, we are always meeting what is not ourselves, and we have to do something about it.              —Eli Siegel, Self and World

People
(scroll down for The Etcher)

Click images to enlarge

Voyage West
1963, etching/aquatint
15¾ x 19¾ in.


In Voyage West of 1963, the metallic and weighty
become light and radiant.


Our Beginnings
1987, etching (unique print w/color)




Confrontation
1987, color etching (unique proof)

This print has to do with a person wanting to see
himself as an object. I asked Dorothy to take a
photograph of me and I did a photo-etching of myself
looking at myself in profile. It is called "Confrontation."


Real Meeting
pastel
 

Thought/Self Portrait
pastel, 25 x 26 in.

The shape of things, space, color, dark and light, movement, size and proportion, brightness and dullness, the relation of one thing to another, of things to other things—these are some of what my eyes bring to me….I feel I am behind my eyes, and that the world is in front of them.

I see 1) To bring the world closer to me and into me, behind the eyes. 2) To make me feel related to outside things. I see in order to honor the world; to be affected by it, to affect it.      
  
 —CK, October 11, 1951

At the Window
pastel
 

pastel
25 x 26 in.

 


Exodus I
1962, mixed intaglio and liquid metal
10 x 12 in.
 


Jolly Crowd
1963, aquatint, 6 x 9½ in.
 






The Etcher

“Opposites lie at the very heart of all the printmaking techniques. Silk screen, based on the stencil, couldn’t be without the open and closed. Lithography depends on the fact that water and grease repel each other. In the woodcut, what is below the surface and cut away does not print; what is above the surface, prints. In etching, the exact opposite holds true. All pits, scratches, and grooves below the surface take the ink and print; the surface is wiped clean and doesn’t print.” back to top



Napoleon, Angel & Printmaker
charcoal


At the Press
intaglio


Intaglio Angel
1966, aquatint, 10 x 8 in., AP




In the Workshop
1966, intaglio , 18 x 12 in.