Ruth Meyers (1919-2001) was a prolific and remarkable artist who left behind a large body of work encompassing a broad range of mediums from oils on canvas and paper to etchings and serigraphs. She was adventurous and willing to work outside the norm, experimenting with color, content and surface treatment.
Many of her female figures and portraits are often separated from their chaotic surroundings. Although they occasionally interact with another, most often they exist in their own personal space. In addition to the female figure, there are several other bodies of work in this collection reflecting subject matter such as abstract landscapes and pure fantasy design.
Ruth produced a small body of female portraits using oil on paper. These were done early in her career but give the impression she is beginning to hit her stride as an artist. Many of them resonate and connect with the viewer.
Her work is organized by medium, however, one gallery is focused on content that is strongly represented though out her body of work. I named it "Anti Matter and Subterranean Designs". You likely will concur.
Ruth painted in the 50’s, 60’s and 70’s in the context of an art world that was deconstructing and distorting our vision. Her contemporary genres were cubism, pop art and abstract expressionism. All of these trends can be seen in Ruth’s work.
Please take your time with each gallery since there is a lot to see. I hope you enjoy her work as much as I had in putting together this website.
Silk Screen or Serigraph
For those not familiar with the silk screen process: a silkscreen is still used today but more modern fabrics are generally employed. To make a serigraph, the artist places a stencil on the fabric and forces ink through the places where the material is stencil-free. Each color in the piece must be applied with a separate screen. In a serigraph, the paint tends to sit on top of the paper and may be felt with a finger.
Etching is a method of print making using a metal plate, usually copper, into which the design has been carved by acid. The copperplate is first coated with an acid resistant substance called the “etching ground” through which the design is drawn with a sharp tool. This etching ground is usually a compound of beeswax, bitumen and resin. The plate is then exposed to nitric acid which eats away those areas of the plate unprotected by the ground forming a pattern of recessed lines. These lines hold the ink and when the plate is applied to moist paper the design transfers to the paper, making a finished print.