Selected Monoprints and Monotypes
Formerly an editorial director for children’s books at several major publishing companies, most recently HarperCollins, Barbara Lalicki currently teaches “Creating the Picture Book” with author-illustrator Steve Henry at Pratt/Manhattan.
Largely self-taught, Barbara learned by sharing ideas with picture books artists and haunting museums throughout her career. She also studied with Jennifer Griffin, Seth Foreman, Charles Gruppe, Skip Lawrence, David Dunlop, and, very importantly, Bruce Waldman.
Barbara’s portrait of Mick Jagger, “Red Mick,” has appeared in Palette, a national art magazine and she’s participated in various group and individual shows in Northern Westchester, and at the Korea Society and Mehu Gallery in New York City.
You can see more of Barbara’s artwork at www.barbaralalicki.com
I’ve learned the most by studying great artists and illustrators. Experiencing works by Ludwig Bemelmans, Wanda Gág, and William Steig, and by Van Gogh, Matisse, Manet and a host of Northern artists from the fantastical Altdorfer to the ultra-realist van Eyck is one my greatest pleasures. And, in my career as a children’s book editor, I relished talks with artists and seeing how they brought their visions to life.
I came to drawing via painting because I wanted to give better definition to my images. Then I discovered monoprints via my drawing teacher, the brilliant monoprint artist, Bruce Waldman, who encouraged me to give it a try.
When I pulled my first monoprint, I immediately saw the freer, looser line I’d lost in working so hard to perfect my drawings. Unexpected variants to the image stimulated my imagination.
After the thrill of pulling a print and seeing “what happened,” my favorite part is taking it home and working it up to bring out what I see. This might mean a touch—or more–of watercolor, and perhaps some pen-and-ink.
When people look at my paintings—and now my monoprints–I most often hear “charming,” “cheerful,” “makes me happy” and…”you should do a children’s book.” It’s interesting that adults can respond so positively to art, but think it’s meant for someone else.
I’ve stopped resisting the comment, and realize it’s not realism I’m after, but believable fantasies with a humorous bent that everyone can enjoy.