Supper 1957 - 1961

Anatoli Lvovich Kaplan made this lithograph, Supper, using textured marks to build up a scene of a family gathered for a meal. The whole image feels like it's built from tiny marks, a kind of visual shorthand that gives the whole scene a feeling of being both solid and on the verge of dissolving. Look at the way the light seems to struggle to emerge from the darkness. The textured marks create depth and shadow, particularly around the figures seated at the table, making them feel both present and spectral, like memories. Each mark feels deliberate, contributing to the overall sense of quiet intimacy. There’s something about the way Kaplan uses the lithographic crayon here that reminds me of Käthe Kollwitz. Both artists share a concern for representing working-class life. Both artists embrace the ambiguity inherent in the process of artmaking, prioritizing emotional resonance. It's a reminder that art is always in conversation, a dialogue across time and cultures.