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Home>Yes No Maybe Introduction>Yes No Maybe Echoes Introduction>Yes No Maybe Appleby

# 

Exhibition Introduction

Note to the ReaderAcknowledgments

IntroductionKeithJohnLeslieSelf-Portrait

IntroductionTouched RedGreenCombinationHigh Green Version 1

Introduction17 Drawings by ThoreauSeven Day Diary (Not Knowing)Changes and DisappearancesWhere R=RyoanjiFireThe Missing Stone 75 StonesEninkaStonesWhere There is Where There

IntroductionAnne ApplebyPia FriesDarren AlmondSusan MiddletonJoel FisherBrad BrownTom Marioni

IntroductionMamma AnderssonSol LeWittFred WilsonRobert BechtleKiki Smith

IntroductionJulie MehretuWayne ThiebaudJockum NordströmTomma AbtsNathan OliveiraChris Ofili

IntroductionPat SteirLaura OwensWayne ThiebaudAmy Sillman

# Anne Appleby

Anne Appleby, Verona Suite, 2003
*Verona Suite* (working proof 2)2003color aquatint; overlaid with cut proofeach plate: 6 × 3 (15.2 × 7.6)sheet: 15 1⁄8 × 29 3⁄4 (38.4 × 75.6)Crown Point Press© Anne Appleby

Anne Appleby, Verona Suite, 2003
*Verona Suite*(working proof 3)2003color aquatint with burnishing; overlaid with cut proofeach plate: 6 × 3 (15.2 × 7.6)sheet: 15 1⁄8 × 29 3⁄4 (38.4 × 75.6)Crown Point Press© Anne Appleby

Anne Appleby, Verona Suite, 2003
*Verona Suite*2003color aquatint with burnishingeach plate: 6 × 3 (15.2 × 7.6)sheet: 16 3⁄4 × 30 (42.6 × 76.2)National Gallery of Art, Washington, Gift of Kathan Brown,2006© Anne Appleby

Anne Appleby's*Verona Suite*****suggests the shifting light and changing colors of a poplar forest near Verona, Italy. Appleby neither works directly from nature nor collects color samples. Rather, she chooses colors based on intuition and memory. The final print’s subtle and luminous color variations, created by overprinting layers of semitransparent inks, are, for Appleby, evocative of the poplars’ seasonal growth cycles. For example, the green rectangle in the second position of the final print (see slideshow, above) is tinged with light green and orange, suggesting the transformation of deciduous leaves from spring to fall. In the working proofs, Appleby tested the impact of two shades of pink on the overall color harmonies by overlaying rectangles cut from earlier proofs.

Anne Appleby (right) watches as Crown Point printer Dena Schuckit mixes pigments for *Verona Suite*, photograph by Kathan Brown, Courtesy Crown Point Press

Banner image: Detail, Susan Middleton, *Requiem*, 2008, color photogravure, National Gallery of Art, Washington, Gift of Kathan Brown, Courtesy Susan Middleton

Next: Pia Fries

"Yes, No, Maybe: The Art of Making Decisions," lecture by exhibition curators Judith Brodie and Adam Greenhalgh (audio)Julie Mehretu, artist, in conversation with curator Judith Brodie, Diamonstein-Spielvogel lecture (audio)"An Insider's Perspective," lecture by Kathan Brown, founder of Crown Point Press (audio)

Exhibition tour by curators Judith Brodie and Adam Greenhalgh (audio)

Anne Appleby in the collection of the National Gallery of Art

Crown Point Press prints in the collection of the National Gallery of Art

Press release

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