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Woman Crucified Drawing

Jay Worth Allen

United States

Drawing, Pastel on Paper

Size: 22.3 W x 30 H x 0.1 D in

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$8,750

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About The Artwork

“Woman Crucified,” 2008 [from the series ca. 2000-present]. Pastel on Winsor & Newton watercolor paper (pastel drawing) 30.00" H x 22.25" W (76.20 x 56.515 cm) ”Woman Crucified" is a deeply moving, prophetic piece in which Jay Worth Allen shows us the plight of womanhood in an ageless, relentless world war against her, “the woman.” Through the masterful use of black pastel on white watercolor paper, this work is part of a series of works on paper in which Jay Worth Allen explores various aspects of womanhood: her plights, joys, beauty, and timeless inspiration to any and all who may encounter her. “Woman Crucified” has been deemed an "extremely important piece" by collectors and critics alike, and has been shown in several U.S. museums and galleries, as well as private showings. As with so many of Jay Worth Allen’s works, complex harmonies within contrasting components play a major role in the composition and message of “Woman Crucified” — eloquently executed, yet dark subject. Black pastels contrast the white of the paper, creating a synergistic form: the woman’s body is directly facing us (the canvas), yet her face is obscured, pointing downward into the engulfing shadow created by hard white light against the prone nude with outstretched arms, which are themselves being engulfed in the black shadows. To delve a bit deeper into the underlying theme propelling this moving series — the Celebration of Life Through Woman, which is a favorite of this profound artist: Some critics have described this recurring theme in others’ works, as the freedom of womanhood laid bare. Yes, while we have seen this particular “freedom” in the works of past masters, such as Renoir, Rubens, and even Fragonard in which any reference to socio-economic status has been removed (rendering the subject “bare”), there is a marked departure from their women in Jay Worth Allen’s works. For him, the Celebration of Womanhood equals Beauty and Vulnerability, and, Strength, the resulting inherent synergistic combination of the two former attributes. Hence, “Woman Crucified” portrays a literal stripping away — a raw and unprotected vulnerability laid bare — created through the use of his signature “stark darks and bright whites” to fully emphasize his message. Jay Worth Allen is passionate. And as the artist, every facet of his work is imbued with that passion, which includes the materials he uses to create his art. “Woman Crucified,” is created on high quality watercolor paper (as are all of his works on paper), instead of pastel, Ingres or other lighter papers usually found as a base for pastel works. Why? “The answer is simple.” —In his own words: “The reason I use watercolor [paper] for my drawings and pastels is because they are heavier, thicker, and stronger than other paper . . . that way, I can draw on the whole piece . . . including all the way past the edges!” Additional works in this ongoing series will be offered here at Saatchi Art in the coming weeks. Please visit Jay Worth Allen's profile for more information, and to view other works currently being offered through Saatchi Art. We appreciate and encourage any comments. Thank you. A quick note on framing & mounting: For the best display of "Woman Crucified," the work should be mounted by floating — to ensure every touch of the artist's hand is experienced. Regarding shipping, this work is from the artists' private collection and has previously been mounted. However, the work will ship flat (unframed), in accordance with Saatchi Art's shipping policies.

Details & Dimensions

Drawing:Pastel on Paper

Original:One-of-a-kind Artwork

Size:22.3 W x 30 H x 0.1 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

— Artist Statement — I was born. When I was about 6, I started drawing. Later, I started painting. That's still what I'm doing. What I know, I put into my work. I am interested in visible or tangible things that ARE, rather than Opinion. In my work, there are pre-formed, conventional, depersonalized, factual elements — impartial objects. I am concerned with the wholeness of a thing remaining within the boundaries of knowledge. It is within this boundary that I strive to conceal and reveal known objects at the same time. We have an existing language of words, signs, symbols, shapes, formulas, treatises, poems and the like — whole bodies of belief and knowledge that can, presumably, describe and penetrate anything and everything. Yet, I am forced to recognize that the system which enables me to form a piece of art and to think coherently cannot define how I uniquely think or feel, or even how I picture myself and everything outside myself. The plane of my work has always been real things — REAL MOMENTS RESTING IN TIME, where the ideational and perceptual worlds intersect to form image, idea, icon, and space, and — where I, and therefore the viewer, is projected through to another reality. Technique is inextricably tied to the content of my work. By working in all mediums, I work with numerous techniques. As a painter, acrylic is my medium of choice. My 3D & sculptural materials range from chicken wire to wood to concrete blocks to whatever material I find in my field of sight. The methods I use in printmaking (woodblock, silkscreen, blueprints, lithographs) all combine multiple processes. For me there is no hierarchy among these mediums and techniques; yet, drawing is the foundation for all my work. It’s is the way I speak the best, the clearest. — Brief Bio — On March 6 (the anniversary of Michelangelo’s birthday), J. Worth Allen (“Jay”) was born in Daylight, Tennessee. He grew up in Austin. Studied in Memphis, London, Oxford, New York, Los Angeles—. Has exhibited in New York, Texas, California, London, Edinburgh, France, and beyond. At 16, he was accepted into the top 3 art schools in the nation, each, with full scholarships: Pratt Institute/Fine Art, The Art Institute of Chicago and The Art Academy in Memphis, which won out (via a cartographical nudge from his dad).

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