Born in 1913, Koerner grew up on the outskirts of Prague in a family
that controlled a major lumber business. After studying law and art in
Prague and Paris, his family began to suspect their business would not
be immune from the rising threat from Adolf Hitler in the late 1930s, so
the family bought a mill in New Westminster. He began painting full
time in 1950, while teaching art, first at the Vancouver School of Art
and then UBC. His legacy is the extraordinary measure of artwork he
created over his lifetime, collections which adorn galleries around the
world, including The Vancouver Art Gallery, Tate Gallery in London and
the National Gallery in Ottawa. The last of his exhibitions was a 60
Year Retrospective at the Eliott Louis Gallery in Vancouver and included
works from his Pacific Gateway series. In the series, Koerner explored
the multiple meanings of the word pacific as both peaceful and a body of
water and of the gateway as a symbol of stepping out of this world into
another reality. The paintings have a contemplative, meditative quality
to them, much like the artist himself. Of his work entitled Lotus, he
once said: “The idea is that the lotus unfolds in a small pond — that’s
the same as a person’s soul.”
The Lighthouse (134), 2012
etching, ed. 50
image: 7” x 5.25”
paper: 11” x 9.25”
$150.00
Etching is an example of intaglio. Intaglio derives its name from the
Italian intagliare, meaning to incise. Copper or zinc plates have a
waxy ground applied to them, and an incising tool called a scribe is
used to penetrate the ground. The plate is immersed in an acid bath,
where the acid bites into the incised lines to emphasize them. When the
plate is ready for inking, the ground is removed and the entire plate is
covered in ink. The plate is then wiped clean on the surface and
printed on damp paper, where the paper is forced into the etched lines
and picks up the remaining ink, resulting in an image.