MONOPRINT
1977 MONOPRINTS
STEPHEN SCHULTZ FIRST LEARNED MONOPRINTING, (IN 1977) UNDER A MASTER OF THE PAINTED PROCESS; NATHAN OLIVEIRA, PROFESSOR OF STUDIO ART AT STANFORD. OLIVEIRA WAS ESSENTIAL IN RE INTRODUCING MODERN MONOPRINTING, IN THE WORLD OF ART AT THAT TIME.
NATE’S STUDIO 1977
For the first few years, Stephen would travel back to Palo Alto, during summer break from his new teaching position at The University of Iowa. It was during this time that he would occasionally visit Nate Oliveira’s studio at Stanford University. They had become friends and it was a place that Stephen gravitated back to when he had time.
Oliveira was a master of the monoprint process, and was happy to teach Stephen. Specifically, he had perfected painting on a plate directly, and then pressing the paper upon the plate. He taught Stephen his practice of continuously modifying the painted image-achieving vastly different results in each succession of prints.
The drawing, painting, scraping and wiping offered ever changing effects- which appealed very much to Schultz. He was astonished with each finished result- with such luminosity shining through the marks, from the paper underneath.
Stephen depicted Nate’s Stanford campus studio in the following pieces. Utilitarian items are often ignored, which are necessary for functionality in a classroom- chairs, tables, a studio light and a chalkboard as backdrop. Instead, a student’s focus is on what is being taught, and rightly so. Rarely does one stop in the moment, to take in the basic items that support the process of teaching.

1982 MONOPRINTS
AT GEORGE RICKEY’S OLD PRINT STUDIO
It was 1982- When the following sets of Monoprints were born in an old print studio at George Rickey’s Hand Hollow. George handed Stephen the keys one day, early on in his artist in residency… Rickey said, “It hasn’t been used in years but you are welcome to use it.” The subject matter in this series are each a still life painted of the tools and materials used in making a Monoprint; as well as portrayals of the property surrounding the studio in the woods. These are captured moments of seeing through the eyes of an artist—taking in his surroundings—and describing through his art—an unforgettable experience. He spent an entire summer there, in solitude-making art.
He loved the opportunity to put all of the knowledge that Oliveira had taught him, into action. His two brief periods of Monoprint making- were both in honor of two men, he greatly admired in the art world. First Nathan Oliveira, and then (the sections and series shown below) with George Rickey.