SW Artist Douglas retailer Johnson "Tablita" Original Stone Lithograph Limited Edition 1977 signed

"Tablita"

by Douglas Johnson

Limited Edition Stone Lithograph on Buff Arches Fine Art Paper

Southwest Impressions Number 77-004a

Hand signed & numbered by the artist in pencil

Paper Size: 10 1/4" x 10 1/2"

Edition Size: 25

Edition Number: 19/25

1977

Excellent condition

Certificate of Authenticity is included

What is an original stone lithograph?

When an artist creates a work of art on a stone plate, they make what is known as an original stone "lithograph." Because this is a highly specialized process, an original stone lithograph is NOT a reproduction but rather a one-of-a-kind unique piece of artwork. Lithography, or "stone art," was first used around 1789 and is based on the simple physical principle that oil and water do not mix. To create a lithograph, artists often draw an image in reverse on limestone with crayons. The stone is then dampened with water, which is repelled by the greasy medium wherever the artist has drawn their art on the stone. Afterwards, the stone is pressed with a massive roller loaded with oily ink which adheres to the greasy areas of the design, but is repelled by the wet areas of bare stone. Following this, the paper is pressed to the stone and the ink is transferred onto the paper. In a color lithograph, a different stone is used for each color where the stone must be re-inked every time the image is pressed onto the paper. Most modern lithographs are signed and numbered to establish an edition of the print.

An offset lithograph, also known as a limited edition print, is a reproduction by a mechanical process where the artist has in no way contributed to the making of an original print: that is, they have not designed the plate. Instead, printings, drawings, and watercolors are photo-mechanically reproduced. Very often an artist signs a number of these "reproductions," but they are not true original lithographs.


Douglas Johnson
Douglas Johnson's intimate gouache paintings and original lithographs not only reflect the craft of Native American miniaturists but also represent the life and imagery of Northern New Mexico. Born and raised in Portland, Oregon, Johnson is essentially self-taught. His interest in the Southwest began in college when he became a Volunteer in Service to America (VISTA), a government program designed to improve living conditions for the poor in our Country. He was assigned to the Navajo Indian Reservation and quickly fell in love with its rich culture. Although he had been painting and drawing most of his life, it was this experience that inspired him to focus his talents, ultimately resulting in his permanent relocation to New Mexico.
Johnson admits that many of his paintings have their roots in Navajo art. He has, however, been very careful to remain faithful to and nurture the integrity of Native American culture. In fact, he believes that much of his ability comes from his, "first-hand experience living with the Indians and...know[ing] a lot of details of their lives."

Johnson was especially influenced by the work of Harrison Begay of the Dorothy Dunn School. Johnson states, "I started copying his prints. It's why I paint in the flat style, so geometric and retailer linear." Indeed, his small, highly detailed paintings glow with jewel-like colors and hard-edged lines.

In addition to Native American culture, nature has proven to be a significant influence. Johnson learned by, "examining light and shadow, weather, color, flowers, the birds... it's all out there." In fact, as part of an effort to isolate himself and to be closer to Chaco Canyon, the site of many Anasazi ruins, he built a rock house on the side of a cliff near Coyote, New Mexico. The home has no plumbing or electricity. It is Johnson's desire to live as closely to his subject as he possibly can. Much of his own life and environment can be found in his paintings, a testament to his sincerity and to his subject matter.

Johnson has been exhibiting his paintings extensively for years. However, he attributes his success to the experience of painting. "As I paint things over and over, the flowers, the birds, the people, I hope they get deeper and more complex as I see them better. When you paint something, you learn about it, and the more you paint, the more you look, the more you learn."
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