Sunday, May 21, 2017

LAST DAY OF WELLFLEET PRINTMAKERS IN PROVINCETOWN


Down the Road: Wellfleet Printmakers from the 20th Century is on view at the Provincetown Art Association and Museum, Provincetown, MA, through TODAY, May 21, 2017. It’s a wide reaching show with nearly every Cape Cod drypoint or lithograph by PEGGY BACON along with extensively annotated printer’s proofs, early states, and related drawings. There are also exceptional examples of work by Clare Leighton, including many of the actual woodblocks for her 1954 book, Where Land Meets Sea – The Enduring Cape Cod, as well as works by Alexander Brook, Stow Wengenroth, and others.
John W. Gregory, Road to Provincetown, 1932

Thomas R. Broker and Arthur N. Gilbert are the curators of the exhibition. They both have a deep knowledge of the material and appreciation for the contributions made by the artists.

A list on the STG site also features Truro artists JUDITH SHAHN and her father BEN SHAHN, Provincetown artists MARY SINCLAIR, BETTY WALDO PARISH, and sister and brother DOROTHY GREGORY and JOHN GREGORY. Cape Cod subjects are used for many, but especially for artists who may have been more casual visitors such as PETER GRIPPE and HUGH MESIBOV. HOWARD DAUM and BEULAH STEVENSON were probably visiting Hans Hofmann.


Link to our page:


link to PAAM’s exhibition page:

capecod, provincetown, provincetownartassociationandmuseum, wellfleet, PAAM, peggybacon, clareleighton, judithshahn, benshahn, marysinclair, bettywaldoparish, howarddaum, hanshofmann, petergrippe, hughmesibov, alexanderbrook, downtheroad, WellfleetPrintmakers

Sunday, May 14, 2017

Report on St. Louis Fair


We're back from the St. Louis Fine Print, Rare Book, And Paper Arts Fair, at the University of Missouri--St. Louis. It was sponsored by the St. Louis Mercantile Library.



This fair has an unusual ebb and flow, and this year it was heavier on art than I remember from other years. Of course one of the huge advantages of an institutionally sponsored event is the presence of the staff and here the Library’s director John Hoover, curator Julie Dunn-Morton, and several of their colleagues, were in attendance. Their support is hugely appreciated by both visitors and vendors alike.



This year we featured recent acquisitions such as lithographs and intaglios by Karl Schrag, our favorite Thomas Hart Benton print, The Race, 1942, and works by Peggy Bacon, William Baziotes, and Stanley William Hayter.

The link below to the UMSL site features a 2015 interview with Julie Dunn-Morton and ST. Thanks to SL for identifying the musical introduction as Morton Gould's Pavanne, part of his American Symphonette No. 2, composed in 1939.
Link:
http://www.umsl.edu/mercantile/events-and-exhibitions/print-fair/index.html


#umsl #Stlouis #StLouisPrintFair #PrintFair #STLprintfair #collectprints #KarlSchrag #peggybacon #williambaziotes #stanleywilliamhayter #thomashartbenton

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Wednesday, April 26, 2017

The Bombing of Guernica, 1937


It would have been market day eighty years ago today in the small Basque town of Guernica when it was bombed by the German Luftwaffe and the Italian Aeronautica Militare. It was the first deliberate targeting of civilians by a military air force in the history of the world.

Howard Daum, Combat, 1947

The number of dead was probably around 300 with scores of people, and as Picasso reminded us, animals, horribly injured, and the town destroyed. Within three months Pablo Picasso made a monumental work that continues to haunt us today.

Picasso’s painting, while under the protection of the Museum of Modern Art, New York, captured the imagination of Howard Daum. In the 1940s when Daum attended Atelier 17, the New York workshop of Stanley William Hayter, he of course learned of Hayter’s friendship and professional association with Picasso. Hayter’s own engraving Combat, 1936, also referenced the Spanish Civil War, but pre-dates the bombing of Guernica. The copper plate for that print was one of the few items that Hayter brought with him in 1940 when he left Paris for New York.

Howard Daum’s version, Combat, 1947, is a tour-de-force of Atelier 17 techniques. At 14 x 18 inches it is a very large intaglio made in at least three states.

Howard Daum’s Combat follows in the Hayter/Picasso legacy of iconic anti-war compositions with a masterful Post-World-War II image. 




#Daum #Howarddaum #Picasso #Hayter #Stanleywilliamhayter #Atelier17 #Guernica #Spanishcivilwar #combat #intaglio #1937

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Sunday, April 16, 2017

ANNE RYAN COLLAGE WEEK

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Collages by Anne Ryan (1889-1954) date from the last five or six years of her short artistic career and for that matter, of her life. Right now they are having a moment.

The piece shown here, dated 1951 and made on Douglas Howell paper, is currently on view at Rutgers University’s Zimmerli Art Museum in Innovation and Abstraction: Women Artists and Atelier 17, through May 31.

Anne Ryan, Collage, 1951

It is more cubist grid than expressionist composition like those on view in the Museum of Modern Art’s Making Space: Women Artists and Postwar Abstraction, on view through August 13. In his New York Times review of Friday, April 14, Holland Cotter wrote that “the exquisite, centrifugally spinning collages … were inspired as much by life as by other art.” Speaking of the show as a whole he decries the absence of many of these works from the permanent collection galleries where they would hang with those of male colleagues. 

#collage #zimmerli #innovation #innovationandabstraction #atelier17 #anneryan #makingspace #hollandcotter #douglashowell #MOMA

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Sunday, April 9, 2017

PEGGY BACON AND CLARE LEIGHTON FEATURED IN PROVINCETOWN

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Down the Road: Wellfleet Printmakers from the 20th Century is on view at the Provincetown Art Association and Museum, Provincetown, MA, from April 7 through May 21, 2017. It’s a wide reaching show with exceptional examples of work by Clare Leighton and including many of the actual woodblocks for her 1954 book, Where Land Meets Sea – The Enduring Cape Cod, jewels in themselves. Leighton’s print of the Oyster Houses, 1948 (and my new favorite of hers), is paired with a related preparatory drawing, as well as Peggy Bacon’s Low Tide, 1952, Albert Edel’s extremely scarce Oyster Shacks, and even Stow Wengenroth’s Oyster Shacks. Thanks to Thomas Broker for going through this with me and putting it together in the first place.

Clare Leighton, wood engravings with blocks for Where Land Meets Sea

For Bacon there are nearly all her Wellfleet subjects including early and final states for several, including High Brows, and some such as Priceless Find shown both in lithograph and drypoint versions, one with extensive state and printing notations by Bacon.

Peggy Bacon, Low Tide, 1952, drypoint

Thomas R. Broker and Arthur N. Gilbert are the curators of the exhibition. They both have a deep knowledge of the material and appreciation for the contributions made by the artists.
 
Provincetown Art Association and Museum, April, 2017
The Provincetown Art Association and Museum was founded in 1914. A renovation in 2005 and 06 expanded the square footage to 19,500. It is the most visited art museum on Cape Cod. Our thanks go to Christine McCarthy, Executive Director, for recognizing the national importance of the locally titled Wellfleet Printmakers.

A list on the STG site also features Truro artists JUDITH SHAHN and her father BEN SHAHN, Provincetown artists MARY SINCLAIR, BETTY WALDO PARISH, and sister and brother DOROTHY GREGORY and JOHN GREGORY. Cape Cod subjects are used for many, but especially for artists who may have been more casual visitors such as HOWARD DAUM who would have been visiting his NYC teacher Hans Hofmann, PETER GRIPPE, and HUGH MESIBOV.


Link to our page:


link to PAAM’s exhibition page:

#capecod #provincetown #provincetownartassociationandmuseum #PAAM #peggybacon #clareleighton #judithshahn #benshahn #marysinclair #alexanderbrook #bettywaldoparish #howarddaum #hanshofmann #petergrippe #hughmesibov
#alexanderbrook #downtheroad #WellfleetPrintmakers

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downtheroad, WellfleetPrintmakers

Monday, March 27, 2017

American Art of the Depression Era at the Royal Academy


Work by Thomas Hart Benton is featured in America After the Fall: Painting in the 1930s, at The Royal Academy of Arts, London, through June 4.

Below is Benton’s lithograph The Race (also titled Homeward Bound), of 1942. In the Creekmore Fath print catalogue raisonné there's a note by Benton that horses galloped with steam engines but not with diesels.
 
Thomas Hart Benton, The Race (also titled Homeward Bound), 1942       

A member of Associated American Artists’ 'Triumvirate of American Regionalism' along with John Steuart Curry and Grant Wood, Benton (1889-1975) was a painter, muralist, and printmaker. His America Today mural series of 1930-31 is at the Metropolitan Museum of Art; A Social History of the State of Missouri, 1936, is in the Missouri State House, Jefferson City, and is NOT TO MISSED!
 

Wednesday, March 8, 2017

INTERNATIONAL WOMEN'S DAY, MARCH 8


Celebrate International Women's Day, today, March 8.



Sue Fuller, Umbrella Makers, Japan, 1953

 

#internationalwomensday #internationalwomen'sday #Suefuller #Umbrellamakers #Japan

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