Matrix: Contemporary Printmaking - Museum of Fine Arts - Florida ...
Matrix: Contemporary Printmaking - Museum of Fine Arts - Florida ...
Matrix: Contemporary Printmaking - Museum of Fine Arts - Florida ...
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MATRIX: CONTEMPORARY PRINTMAKING<br />
OCTOBER 9 - NOVEMBER 22, 2009
Fall 2009<br />
Table <strong>of</strong> Contents<br />
Introduction:<br />
Letter to Educators……………………………………………………………………. 2<br />
Sunshine State Standards…………………………………………………………… 3<br />
Part 1: Obtaining a General Knowledge <strong>of</strong> <strong>Printmaking</strong><br />
<strong>Printmaking</strong> Past:<br />
<strong>Printmaking</strong> Timeline……………………………………………..…… 6<br />
Different Types <strong>of</strong> <strong>Printmaking</strong> and How They Work…………..….. 7<br />
Different Uses for <strong>Printmaking</strong> throughout History…………………. 9<br />
Artist Biographies:<br />
Works from these artists will not be in the exhibition; they are examples <strong>of</strong> great printmakers<br />
Albrecht Durer………………………………………………………….12<br />
Rembrandt Van Rijn …………………………………………….……13<br />
Francisco Goya…………………………………………………..……14<br />
Katsushika Hokusai………………………………….………………..15<br />
Andy Warhol…………………………………………..……………….17<br />
Part 2: The <strong>Museum</strong> <strong>of</strong> <strong>Fine</strong> <strong>Arts</strong> Exhibit Information<br />
Part 3: Lesson Plans<br />
Part 4: Helpful Information<br />
How Technology Has Changed <strong>Printmaking</strong>……………….…..… 20<br />
How <strong>Museum</strong>s Have Embraced Modern <strong>Printmaking</strong>…..………. 22<br />
Artists’ Biographies………………………………………………….. 23<br />
Pop Art Food……………………………………….…………………. 30<br />
Relief Printing with Styr<strong>of</strong>oam ………………………...……………. 33<br />
I’m a Little Culturist and Printmaker..……………………...……….. 38<br />
Color, Color Magic Power………………………………………….....42<br />
Roger Shimomura and the Battle Against Racial Discrimination...47<br />
Glossary…………………………………………………………………………….52<br />
Image List…………………………………………………….…………..………… 54<br />
Bibliography……………………………………………………………………… 56<br />
1
Fall 2009<br />
LETTER TO EDUCATORS<br />
Dear Leon County Educators,<br />
The <strong>Florida</strong> State University <strong>Museum</strong> <strong>of</strong> <strong>Fine</strong> <strong>Arts</strong> would like to invite you<br />
to attend our upcoming exhibit. The exhibit will be held in the Fall <strong>of</strong> 2009, and it<br />
will highlight the print collection that the <strong>Museum</strong> <strong>of</strong> <strong>Fine</strong> <strong>Arts</strong> possesses. It will<br />
also include prints from outside artists.<br />
This packet will focus on the different types <strong>of</strong> prints, different uses <strong>of</strong><br />
prints, and it will also explore the differences between printmaking throughout<br />
history and today. During the exhibit the museum will be <strong>of</strong>fering guided tours and<br />
events to help educators teach their students about the museum and the exhibit.<br />
For tours and group information, contact Viki Thompson Wylder at (850) 644-<br />
1299.<br />
In this packet you will find a wealth <strong>of</strong> information to help you prepare your<br />
students for a trip to the museum, or simply just spend a day teaching them about<br />
printmaking. The packet includes informational articles, artist biographies, lesson<br />
plans, a glossary <strong>of</strong> terms, and a list <strong>of</strong> prints being included in the exhibit. All<br />
images included in this packet are for educational use only.<br />
This packet is in accordance with <strong>Florida</strong>’s Sunshine State Standards, and<br />
we hope it will be helpful to you in your classroom.<br />
Hannah Dahm<br />
Michele Frederick<br />
Morgan Jones<br />
Cosette Lin<br />
Bethany Bussell<br />
And<br />
Bri Regis<br />
<strong>Museum</strong> Education Program<br />
<strong>Florida</strong> State University <strong>Museum</strong> <strong>of</strong> <strong>Fine</strong> <strong>Arts</strong><br />
2
Fall 2009<br />
SUNSHINE STATE STANDARDS<br />
Visual <strong>Arts</strong><br />
Pre K-2<br />
The student uses two-dimensional and three-dimensional media, techniques, tools, and<br />
processes to depict works <strong>of</strong> art from personal experiences, observation, or imagination.<br />
The student understands that works <strong>of</strong> art can communicate an idea and elicit a variety<br />
<strong>of</strong> responses through the use <strong>of</strong> selected media, techniques, and processes.<br />
The student knows that specific works <strong>of</strong> art belong to particular cultures, times, and<br />
places.<br />
3-5<br />
The student knows the effects and functions <strong>of</strong> using various organizational elements<br />
and principles <strong>of</strong> design when creating works <strong>of</strong> art.<br />
The student understands what makes different art media, techniques, and processes<br />
effective or ineffective in communicating various ideas.<br />
The student develops and justifies criteria for the evaluation <strong>of</strong> visual works <strong>of</strong> art using<br />
appropriate vocabulary.<br />
6-8<br />
The student creates two-dimensional and three-dimensional works <strong>of</strong> art that reflect<br />
competency and craftsmanship.<br />
The student knows how the qualities and characteristics <strong>of</strong> art media, techniques, and<br />
processes can be used to enhance communication <strong>of</strong> experiences and ideas.<br />
The student understands and uses information from historical and cultural themes,<br />
trends, styles, periods <strong>of</strong> art, and artists.<br />
9-12<br />
The student uses two-dimensional and three-dimensional media, techniques, tools, and<br />
processes to communicate an idea or concept based on research, environment,<br />
personal experience, observation, or imagination.<br />
The student knows how the elements <strong>of</strong> art and the principles <strong>of</strong> design can be used and<br />
solves specific visual art problems at a pr<strong>of</strong>icient level.<br />
The student understands critical and aesthetic statements in terms <strong>of</strong> historical reference<br />
while researching works <strong>of</strong> art.<br />
Language <strong>Arts</strong><br />
Pre k-2<br />
The student uses knowledge and experience to tell about experiences or to write for<br />
familiar occasions, audiences, and purposes.<br />
The student listens for a variety <strong>of</strong> informational purposes, including curiosity, pleasure,<br />
getting directions, performing tasks, solving problems, and following rules.<br />
The student recognizes that use <strong>of</strong> more than one medium increases the power to<br />
influence how one thinks and feels.<br />
3-5<br />
The student prepares for writing by recording thoughts, focusing on a central idea,<br />
grouping related ideas, and identifying the purpose for writing.<br />
The student writes notes, comments, and observations that reflect comprehension <strong>of</strong><br />
content and experiences from a variety <strong>of</strong> media.<br />
The student understands that word choices can shape reactions, perception, and beliefs.<br />
3
Fall 2009<br />
6-8<br />
9-12<br />
SUNSHINE STATE STANDARDS<br />
The student understands how idiomatic expressions have an impact on communication<br />
and reflect culture, by using them correctly in both oral and written form.<br />
The student understands selected economic, political, and social events that have<br />
shaped the target culture and its relationship with the United States across time.<br />
The student selects and uses appropriate prewriting strategies, such as brainstorming,<br />
graphic organizers, and outlines.<br />
The student organizes information using appropriate systems.<br />
The student understands specific ways in which language has shaped the reactions,<br />
perceptions, and beliefs <strong>of</strong> the local, national, and global communities.<br />
Social Studies<br />
Pre k-2<br />
The student compares everyday life in different places and times and understands that<br />
people, places, and things change over time.<br />
The student understands that history tells the story <strong>of</strong> people and events <strong>of</strong> other times<br />
and places.<br />
The student understands the significance and historical contributions <strong>of</strong> historical figures<br />
during this period (e.g., the journeys <strong>of</strong> famous explorers).<br />
3-5<br />
The student understands how individuals, ideas, decisions, and events can influence<br />
history.<br />
The student uses a variety <strong>of</strong> methods and sources to understand history (such as<br />
interpreting diaries, letters, newspapers; and reading maps and graphs) and knows the<br />
difference between primary and secondary sources.<br />
The student understands various aspects <strong>of</strong> family life, structures, and roles in different<br />
cultures and in many eras (e.g., pastoral and agrarian families <strong>of</strong> early civilizations,<br />
families <strong>of</strong> ancient times, and medieval families).<br />
6-8<br />
The student understands how patterns, chronology, sequencing (including cause and<br />
effect), and the identification <strong>of</strong> historical periods are influenced by frames <strong>of</strong> reference.<br />
The student knows the relative value <strong>of</strong> primary and secondary sources and uses this<br />
information to draw conclusions from historical sources such as data in charts, tables,<br />
graphs.<br />
The student understands the impact <strong>of</strong> significant people and ideas on the development<br />
<strong>of</strong> values and traditions in the United States.<br />
9-12<br />
The student understands how ideas and beliefs, decisions, and chance events have<br />
been used in the process <strong>of</strong> writing and interpreting history.<br />
The student identifies and understands themes in history that cross scientific, economic,<br />
and cultural boundaries.<br />
The student understands how social, cultural, economic, and environmental factors<br />
contribute to the dynamic nature <strong>of</strong> regions.<br />
4
9<br />
Fall 2009<br />
PRINTMAKING PAST:<br />
OBTAINING A GENERAL KNOWLEDGE ABOUT PRINTMAKING<br />
Emory Adams<br />
Old-Style Screw Printing Press<br />
Woodblock, 1919<br />
5
Fall 2009<br />
<strong>Printmaking</strong> TimeLine<br />
105 AD Paper is invented in China.<br />
1380 The earliest known woodcut in<br />
Europe is made: The Bois Protat.<br />
1420-30<br />
Silversmiths<br />
and armorers<br />
begin to<br />
reproduce<br />
decorative<br />
engravings<br />
from metal<br />
plates, making the<br />
first printed<br />
engraving.<br />
1439 Johannes<br />
Gutenberg<br />
produces the first<br />
printing press.<br />
A silversmith carving into a<br />
metal surface to create a<br />
design<br />
1497 The Apocalypse is published by<br />
German artist Albrecht Durer.<br />
The printing press<br />
1513 Possibly the first<br />
etching is produced by Swiss artist Urs<br />
Graf.<br />
1653 Rembrandt<br />
creates the etching<br />
The Three Crosses.<br />
1839 An early photographic process<br />
called daguerreotype in invented by<br />
Louis Jacques Mande Dauguerre.<br />
1852 William Henry Fox Talbot patents<br />
an early version <strong>of</strong> the photographic<br />
printmaking process.<br />
1880-90 Four-color process printing is<br />
invented.<br />
1896 Aluminum and zinc begin to<br />
replace limestone in the lithographic<br />
process.<br />
1906 Offset lithography is invented in<br />
America. In this process the image is<br />
transferred from a plate, to a rubber<br />
blanket, and then a printing surface.<br />
1960<br />
Automatic<br />
electrostatic<br />
copiers<br />
become widely<br />
available.<br />
1964 Andy<br />
Warhol prints<br />
Brillo Boxes.<br />
Andy Warhol with Brillo<br />
Boxes<br />
1796 German<br />
playwright, Alois<br />
Senefelder, discovers<br />
lithography.<br />
1796-98 Francisco Goya produces the<br />
series <strong>of</strong> prints Los Caprichos.<br />
Francisco Goya, Los<br />
Caprichos:<br />
Volaverunt, 1796-98,<br />
6
Fall 2009<br />
Different Types <strong>of</strong> <strong>Printmaking</strong><br />
and How They Work<br />
There are many variations in the way prints are produced. Many involve complex,<br />
nocuous, and expensive chemicals. There are also common ways prints can be produced with<br />
everyday materials, such as wood block or even fruit.<br />
The four main categories <strong>of</strong> printmaking are: relief printing, intaglio, planography, and<br />
stenciling or serigraphy. These four main types have both complex and simple ways in which<br />
they can be accomplished. Each <strong>of</strong> these categories may have differing methods, but they all<br />
have one main goal, producing multiple copies from one master image.<br />
Relief <strong>Printmaking</strong>:<br />
This is the oldest type <strong>of</strong> printmaking,<br />
and includes the invention <strong>of</strong> movable type. A<br />
very simple, modern example <strong>of</strong> a relief print<br />
would be the image produced when using a<br />
rubber stamp. Typically throughout history relief<br />
printmaking is produced with a woodcut, but<br />
today anything where the image is raised from<br />
the surface will produce a relief image. In<br />
Japanese woodcuts, multiple blocks would be<br />
produced, allowing for each block to add a<br />
different color to the image. Woodblocks<br />
have been produced by artists such as<br />
Vincent Van Gogh, and many Japanese<br />
printmakers including Hokusai.<br />
To create a woodblock without<br />
having expensive equipment, or toxic<br />
chemicals, a s<strong>of</strong>t piece <strong>of</strong> wood can be used.<br />
The wood around the image is removed<br />
leaving only the raised edges that are<br />
desired to create the image. Relief images<br />
can also be produced using various fruits and<br />
vegetables. By cutting them open to reveal the<br />
different textures inside, and applying ink, the<br />
varying heights <strong>of</strong> the fruit’s flesh and seeds<br />
will produce different images. Relief prints can<br />
also be made with<br />
Styr<strong>of</strong>oam as a<br />
substitution for<br />
wood.<br />
Hokusai<br />
The Great Wave <strong>of</strong>f<br />
Kanagawa woodcut print,<br />
1823-29<br />
Intaglio:<br />
Pronounced in-TAL-yo, this type <strong>of</strong><br />
process is also known as etching. These prints<br />
are made using the opposite <strong>of</strong> relief, by<br />
scratching the image into the plate, typically<br />
made <strong>of</strong> metal or Plexiglas. This can be done<br />
with a sharp object, or as with etching, with<br />
acids. Ink is then forced into the removed lines,<br />
and the rest <strong>of</strong> the surface is wiped clean. The<br />
plate is then forced through a press, or held<br />
tightly together with a sheet <strong>of</strong> paper. The force<br />
then transfers the ink onto the paper creating a<br />
mirror image.<br />
This form <strong>of</strong> printmaking was used by<br />
famous artists such as Albrecht Durer and<br />
Pablo Picasso. Such printmaking today is used<br />
mainly in the creation <strong>of</strong> currency.<br />
Albrecht<br />
Durer<br />
Rhinoceros<br />
etching print,<br />
1515<br />
Creating an Intaglio print can be more<br />
difficult than a relief. The process can be<br />
adapted but there is still the need for sharp<br />
tools and a fairly rough, nonporous surface<br />
plate. Etching can be simulated be using a<br />
s<strong>of</strong>ter material like Styr<strong>of</strong>oam, and incising<br />
into it with a pencil, or similar object. Ink<br />
can then be applied onto the surface the<br />
same as with metal or Plexiglas plates.<br />
When transferring the image to paper,<br />
less pressure is applied, to compensate<br />
for the fragile nature <strong>of</strong> the Styr<strong>of</strong>oam.<br />
Planography:<br />
Also known as lithography,<br />
printing during this process is transferred<br />
from a flat surface onto another flat surface.<br />
Lithography began with an interest in<br />
controlling chemical printing from stone. Now<br />
lithograph prints can be produced from stone<br />
plates, and from various types <strong>of</strong> metal plates.<br />
7
Fall 2009<br />
Different Types <strong>of</strong> <strong>Printmaking</strong><br />
and How They Work<br />
The process <strong>of</strong> creating a lithograph<br />
involves using oil crayons, water, acid and ink.<br />
An image is created on the stone or metal plate<br />
using the oily crayon. Then water is applied to<br />
the plate. The water is repelled from the oil and<br />
when ink is added to the plate, the oil based ink<br />
is repelled from the areas that are wet from the<br />
water, allowing only the drawn lines to soak up<br />
ink and produce a print. In more<br />
advanced forms <strong>of</strong> lithography<br />
acid is used to prevent the ink<br />
from moving to other parts <strong>of</strong> the<br />
plate, by creating a stronger<br />
barrier then water.<br />
When attempting to create<br />
a lithograph with color, the<br />
process is very similar to that <strong>of</strong><br />
color wood block prints, or relief<br />
printing. Multiple plates are<br />
produced, each one<br />
for a color intended<br />
to be added to the<br />
print. They are<br />
layered onto the<br />
paper.<br />
This form <strong>of</strong><br />
printmaking allows<br />
for a large amount<br />
<strong>of</strong> prints to be<br />
pulled, making it the<br />
more popular<br />
choice for modern<br />
artists, like Eugene<br />
Delacroix, Henri de<br />
Toulouse-Lautrec,<br />
and Edouard Manet.<br />
Lautrec<br />
1895<br />
Henri de Toulouse-<br />
May Milton<br />
color lithograph,<br />
Producing a lithograph without much<br />
expensive equipment is difficult. It is possible<br />
however to demonstrate the basic principles <strong>of</strong><br />
lithography with ease. The main principle is the<br />
basic chemistry <strong>of</strong> oil and water. Using a sturdy<br />
piece <strong>of</strong> metal, an image can be produced with<br />
an oil crayon; a Crayola crayon will do the trick.<br />
Once the image is drawn, the metal can be<br />
held at an angle, and water poured from the<br />
top down. This will show how the water is<br />
repelled from the waxy image. Using this<br />
method to create a print may take more steps,<br />
but it is possible with the correct ink and<br />
printing paper.<br />
Serigraphy:<br />
Most well known as stenciling, this<br />
method is the most used among students and<br />
non-artists. Stencils can be made from paper,<br />
plastic, fabric, metal, or almost any material.<br />
The design is<br />
removed from the<br />
material, and then<br />
ink is rolled over the<br />
opening to make a<br />
print.<br />
Andy Warhol<br />
Campbell’s Soup Cans<br />
silk screening on<br />
canvas, 1962<br />
This method <strong>of</strong> printmaking has<br />
existed for many years. Stencils are<br />
used in the fine<br />
arts but also in the commercial arts.<br />
Stenciling has also developed into an<br />
art form that is utilitarian, proving to be<br />
an asset in anything from decorating<br />
walls, to creating unique designs for<br />
T-shirts, known as silk screens.<br />
Andy Warhol is known for having<br />
used stencils and silk screens to complete<br />
his famous representations <strong>of</strong> Campbell’s<br />
soup cans. Many famous artists used<br />
stencils to help them plan their works, for<br />
example Michelangelo, who used a<br />
stencil to outline his plans for the Sistine<br />
Chapel in Rome. Although these examples<br />
don’t result in prints in the technical sense <strong>of</strong><br />
the word, they do assist the artist in making<br />
multiple copies <strong>of</strong> one image, which is the<br />
essence <strong>of</strong> the idea <strong>of</strong> printmaking.<br />
Creating stencil prints is one <strong>of</strong> the<br />
easiest forms <strong>of</strong> printmaking to do without a<br />
large amount <strong>of</strong> equipment. Simply begin with a<br />
material that will block the ink, and not allow it<br />
to permeate onto the print except in the desired<br />
places. This can include cardboard or poster<br />
board, and non-cotton fabrics. Then remove<br />
the image from the material to create the<br />
stencil. At this point the medium in which the<br />
print can be created is very open. Paint, ink, or<br />
a simple pencil can be used.<br />
8
Fall 2009<br />
Different uses for <strong>Printmaking</strong><br />
Throughout History<br />
Before there was photography,<br />
computers, the internet or television, our<br />
only means <strong>of</strong> mass communication was<br />
through printmaking. Prints have a long and<br />
diverse history, beginning long before the<br />
Common Era.<br />
Before <strong>Printmaking</strong> was Art<br />
In ancient times, as in Ancient<br />
Egypt, Ancient Rome, Babylonia, and<br />
Ancient China, different types <strong>of</strong> stamps<br />
were made to produce <strong>of</strong>ficial seals. These<br />
could be considered the first relief prints,<br />
although they were not made to be admired<br />
as art. With the invention <strong>of</strong> block book<br />
printing, mass produced text came about,<br />
and made communication easier.<br />
The Printing Press<br />
With the invention <strong>of</strong> the printing<br />
press and movable type in the 1400s,<br />
printing books became quicker and more<br />
efficient than ever before. With the printing<br />
press, books became more affordable and<br />
the literacy rate in Europe grew. With the<br />
invention <strong>of</strong> the printing press, a canonized<br />
set <strong>of</strong> books could be produced, which<br />
included the Bible, but<br />
the printing press also<br />
canonized the<br />
production <strong>of</strong> money<br />
allowing<br />
for<br />
standardized paper<br />
money to be produced.<br />
The printing press<br />
gave scientists a way<br />
to share their<br />
information more<br />
freely, and helped<br />
spread their ideas.<br />
16 th century printing press<br />
The Newspaper<br />
With the invention <strong>of</strong> the printing<br />
press, it was only a short time until the mass<br />
production <strong>of</strong> newspapers began. With a<br />
rotary printing press, the plate is curved<br />
around a cylinder, to allow printing on a<br />
continuous sheet <strong>of</strong> paper. The basic<br />
process is still lithography, but with<br />
adaptations to allow for quicker, more<br />
efficient printing. This type <strong>of</strong> printing may<br />
not specifically qualify as art, but the mass<br />
communication <strong>of</strong> news and events brought<br />
communities together. Newspapers are now<br />
a staple in our society, and they are printed<br />
in largely the same manner that they have<br />
been for hundreds <strong>of</strong> years.<br />
Printing Money<br />
Most individuals<br />
would not consider<br />
money as art, but when<br />
considering that money<br />
is made using the<br />
intaglio process, they<br />
might reconsider. The<br />
process <strong>of</strong> creating the<br />
plates and<br />
designing the money<br />
for<br />
each country is complex, Uncut sheet <strong>of</strong> $1<br />
US bills and includes many artists<br />
and designers. The United States currently<br />
produces money with a high-speed press,<br />
similar to that which creates newspapers.<br />
This use <strong>of</strong> printmaking is an example <strong>of</strong> the<br />
exact reason why printmaking was invented<br />
and perfected, mass production and<br />
accessibility to the masses.<br />
<strong>Printmaking</strong> as Art<br />
<strong>Printmaking</strong> as an art form has been<br />
around almost as long as printmaking for<br />
other purposes. It is in human nature to<br />
create art, and when given a new medium<br />
with which to work, people have always<br />
embraced it. <strong>Printmaking</strong> for art’s sake is<br />
commonly believed to have begun in the<br />
Far East. Woodcuts appeared as early as<br />
100 A.D. after paper was invented.<br />
<strong>Printmaking</strong> arrived in Europe in the 1400s<br />
and took the artists there by storm. Artists in<br />
northern Europe became very adept at<br />
creating prints, and carried this tradition<br />
throughout the continent. Many prints were<br />
produced to create awareness regarding a<br />
specific event, or to make an artist’s work<br />
more accessible to the public. Any number<br />
<strong>of</strong> images were produced including religious<br />
9
Fall 2009<br />
Different uses for <strong>Printmaking</strong><br />
Throughout History<br />
images, political images, scientific drawings,<br />
or even humorous images, which we might<br />
consider cartoons today.<br />
Art with a Statement<br />
Francisco Goya<br />
Disasters <strong>of</strong> War:<br />
It Always Happens<br />
1810-1820<br />
Many<br />
times prints<br />
were produced<br />
to make the<br />
artist’s thoughts<br />
clear. An artist could make a statement<br />
about the current rulers, or war, or the<br />
division between the upper class and lower<br />
class. And producing these images as prints<br />
allowed artists to spread their views quickly.<br />
Francisco Goya completed a series <strong>of</strong> prints<br />
in which he protested the war going on in<br />
Spain during his time. Honore Daumier<br />
completed prints in which he made<br />
comments about the political unrest in<br />
France during his time. Rembrandt made<br />
prints to represent his religious views. The<br />
ease with which prints could be mass<br />
produced allowed for the free flow <strong>of</strong> their<br />
political ideas into the public consciousness.<br />
Japanese <strong>Printmaking</strong><br />
<strong>Printmaking</strong> in the Far East has<br />
been a long-standing<br />
tradition. <strong>Printmaking</strong> in<br />
Japan took on a unique<br />
style <strong>of</strong> its own, and is one<br />
<strong>of</strong> the most recognizable<br />
styles in art.<br />
Yoshida Hiroshi<br />
Night Scene After the Rain<br />
1925<br />
<strong>Printmaking</strong> in<br />
Japan began largely the<br />
same way printmaking<br />
began in Europe, as a<br />
means to reproduce<br />
documents, specifically<br />
religious ones. The technique used was<br />
woodblock printing, which continued into the<br />
modern era. Artists such as Hokusai and<br />
Hiroshi designed multiple blocks, to create<br />
prints with color. As the centuries<br />
progressed, the artists became more skilled,<br />
and were able to include intricate color<br />
details.<br />
Japanese prints had a strong<br />
influence on European prints in the 1800s<br />
and 1900s. When Japan began to increase<br />
trade with Europe in the later nineteenth<br />
century, the style began to show up in<br />
western prints and in the works <strong>of</strong> the<br />
Impressionists. This was actually mostly<br />
accidental, as Japan was not exporting the<br />
prints specifically, but rather using the prints<br />
to wrap the delicate<br />
porcelain they were<br />
exporting, much in the<br />
way we use old<br />
newspaper to wrap<br />
dishes today. This<br />
coincidence created one<br />
<strong>of</strong> the strongest<br />
influences <strong>of</strong> outside art<br />
on the Impressionists,<br />
including Manet, Monet,<br />
Cassatt, and Renoir.<br />
Mary Cassatt<br />
The Bath<br />
1891<br />
Modern <strong>Printmaking</strong><br />
<strong>Printmaking</strong> today takes on many<br />
forms and covers a wide variety <strong>of</strong><br />
purposes. With the advancement <strong>of</strong><br />
digital images, traditional printmaking<br />
has become almost strictly an art<br />
form, rather than a form for mass<br />
communication. Many modern fine<br />
artists use printmaking to develop<br />
works. Screen-printing, which only<br />
developed recently, is widely used as<br />
a commercial printmaking process<br />
today. Technology has advanced<br />
enough that printmaking can still be<br />
used, but the process can require<br />
little or no human involvement, as is<br />
the case with printed newspapers,<br />
and printing money.<br />
10
9<br />
Fall 2009<br />
ARTISTS’ BIOGRAPHIES:<br />
A SELECT HISTORY OF PRINTMAKING<br />
Israhel van<br />
Meckenem<br />
The Artist and His Wife, Self-Portrait<br />
Engraving, 1490<br />
This Artist Biographies section provides examples <strong>of</strong> famous printmakers throughout history.<br />
These artists represent different types <strong>of</strong> printmaking, different styles, and different uses <strong>of</strong><br />
prints overtime. Exposing students to these artists gives them a foundation in printmaking.<br />
The images shown here, and the artists discussed, will not be in the exhibit at the <strong>Museum</strong> <strong>of</strong><br />
<strong>Fine</strong> <strong>Arts</strong>. Rather, they provide a background for the exhibit on display which will include more<br />
contemporary works, as well as selections from the permanent collection.<br />
11
Fall 2009<br />
Artists’ Biographies<br />
Albrecht Durer, St. Jerome in<br />
His Study, 1514, etching<br />
Albrecht Durer<br />
Albrecht Durer was one <strong>of</strong> the most influential<br />
printmakers <strong>of</strong> his time. His father was a goldsmith, as well as<br />
his godfather, but his godfather left to become a printer and<br />
publisher the year Durer was born, 1471. His godfather became<br />
one <strong>of</strong> the most successful publishers in Germany and owned<br />
twenty-four printing presses. This probably had an influence on<br />
Durer, sparking his interest in printmaking.<br />
At age fifteen Durer became an apprentice to a local<br />
artist in Nuremburg, Michael Wolgemut. He had a large studio<br />
which produced many woodblock books. This is the studio<br />
where Durer learned how to make woodblock and dry point<br />
prints.<br />
In 1494, at age 23, Durer got married to Agnes Frey, a<br />
daughter <strong>of</strong> an important brass worker. They had no children<br />
throughout their marriage.<br />
Albrecht Durer, Self-portrait at<br />
28, 1500, oil on panel<br />
In 1494 Durer took his first trip to Venice, Italy to study<br />
more advanced artists. He stayed for a year and went back to<br />
Nuremburg to open his own workshop. Over the next five years<br />
his style began to merge Italian influences with underlying<br />
Northern forms. The first few years at his workshop he<br />
produced mostly woodblocks <strong>of</strong> religious subjects. He also<br />
trained himself in the difficult task <strong>of</strong> using the burin to make<br />
engravings. He also became fascinated with proportion. He<br />
actually studied it intensely for the rest <strong>of</strong> his life. His etching <strong>of</strong><br />
Adam and Eve shows his attention to proportion.<br />
In 1505 he returned to Italy to work on painting. By this<br />
time his etchings had gained a tremendous amount <strong>of</strong><br />
popularity and were being copied by other artists. In 1507 he<br />
returned to Germany. By this time he was well established and had good relations with<br />
most major artists like Raphael and Titian.<br />
From 1513 to 1514 Durer created his three greatest<br />
achievements in printmaking; Knight, Death, and the Devil,<br />
St. Jerome in His Study, and Melencolia. After that he did<br />
work for Emperor Maximilian.<br />
In his later years, Durer wanted to create a unique<br />
print as a means to celebrate his achievements. Durer made<br />
The Triumphal Arch; to this day this work is still the largest<br />
woodblock print. He used 192 woodblocks to make it.<br />
Around 1520 Durer became a follower <strong>of</strong> Martin Luther. After<br />
this his work seemed to focus more on religious subjects. He<br />
was still a man <strong>of</strong> curiosity and wrote four books on human<br />
nature. Sadly the books were published a few months after<br />
his death in 1528. Even today Durer is respected as one <strong>of</strong><br />
the greatest printmakers.<br />
Albrecht Durer, Melencolia,<br />
1524, engraving<br />
12
Fall 2009<br />
Artists’ Biographies<br />
Rembrandt, Self-portrait in Cap<br />
with Eyes Wide Open, 1630,<br />
etching<br />
Rembrandt, The Three Crosses, 1653,<br />
dry point and burin<br />
Rembrandt<br />
Rembrandt was born in Leiden, the Netherlands in<br />
1606. He was the ninth child <strong>of</strong> a well-to-do family. He<br />
was always interested in painting and as a young boy<br />
had an apprenticeship with Jacob van Swanenburgh, a<br />
local history painter, with whom he spent three years.<br />
Around 1624 he opened his own studio in Leiden with a<br />
colleague and friend, Jan Lievens. He produced small<br />
detailed paintings with religious themes. In 1627 he<br />
started to accept students.<br />
Eventually, he wanted a bigger city with more to<br />
<strong>of</strong>fer so he moved to Amsterdam in 1631. Here he<br />
practiced pr<strong>of</strong>essional portraiture and stayed with an art<br />
dealer who introduced his cousin, Saskia van Uylenburg,<br />
to the artist. Rembrandt married her in 1634. During this<br />
period he made much larger paintings and they were very dramatic and full <strong>of</strong><br />
movement. He still painted biblical stories but also some<br />
mythological ones.<br />
In the late 1630s Rembrandt started to make fewer<br />
paintings and more etchings <strong>of</strong> landscapes. His work seemed<br />
to be less eccentric, most likely because he was in mourning<br />
for three <strong>of</strong> his children who died in the late 30s. His wife<br />
followed in 1641. His works <strong>of</strong> her on her death bed are some<br />
<strong>of</strong> his most personal and moving.<br />
In the late 1640s Rembrandt started a relationship with<br />
his maid, Hendrickje St<strong>of</strong>fels. With her he had a little girl but<br />
they never married.<br />
Rembrandt had always been a frivolous man with his<br />
money. He bought up artwork and eventually he went<br />
bankrupt in 1656. He was forced to sell all his possessions<br />
including his printing press. After he was forced to sell his<br />
printing press he never did printmaking again. To help in the<br />
hard times Hendrickje and their only surviving child, Titus,<br />
started an art dealing business and Rembrandt became an<br />
employee. For the rest <strong>of</strong> Rembrandt’s life he had a steady<br />
flow <strong>of</strong> commissions but he never regained his financial<br />
stability.<br />
He outlived both Hendrickje and his son and was left<br />
important in Dutch history.<br />
Rembrandt, Landscape, 1640, etching<br />
with his baby daughter. Rembrandt died a few months after<br />
Titus in 1669. He left behind one <strong>of</strong> the biggest collections<br />
<strong>of</strong> artwork, including around 400 etchings and over 600<br />
paintings. Still to this day he is considered one <strong>of</strong> the<br />
greatest European painters and printmakers and the most<br />
13
Fall 2009<br />
Artists’ Biographies<br />
Franciso Goya, Self Portrait,<br />
1792-93, brush and gray<br />
wash on paper<br />
Francisco Goya, Disasters <strong>of</strong> War:<br />
Gloomy Presentiments <strong>of</strong> Things to<br />
Come, 1810, aquatint and etching<br />
Francisco Goya<br />
Known as “the last <strong>of</strong> the old masters, and the first <strong>of</strong><br />
the modern artists,” Goya inspired many artists with his<br />
determination and talent. He was born in Fuendetodos, Spain<br />
in 1746 to a family that displayed his mother’s crest. His father,<br />
on the other hand, was a guilder.<br />
At fourteen Goya secured an apprenticeship with Jose<br />
Lujan. Later he moved to Madrid where he studied with Mengs,<br />
a German artist whose work was a pre-curser to neoclassicism.<br />
As his art developed he started to enter<br />
competitions. In 1763 and 1766 he submitted his art to the<br />
Royal Academy <strong>of</strong> <strong>Fine</strong> <strong>Arts</strong> but was rejected. He then traveled<br />
to Rome where he entered a painting competition and won a<br />
prize for his work.<br />
Goya then returned home and started studying with<br />
Francisco Bayeu y Subias, a neo-classical painter who focused on religious subjects.<br />
During this time Goya’s paintings started to develop and he gained his own style. He was<br />
bold with his paintbrush and liked to make bold marks. In 1774 he married Josefa, Bayeu’s<br />
sister. He was made a court painter to Charles the Third in 1786 and stayed in that position<br />
for quite some years.<br />
In 1792 his life took at turn for the worse. After a high fever Goya<br />
was left deaf. He did not let that stop him; in fact he succeeded even<br />
more. In 1799 he was made the first court painter to Charles the Fifth.<br />
On his own time Goya started to make a series <strong>of</strong> aquatint<br />
etchings about the French Revolution and the philosophy behind it. The<br />
aquatints contain disturbing content. Captions let the viewer know what<br />
they are about. An example <strong>of</strong> such a caption reads, “The sleep <strong>of</strong> reason<br />
produces monsters.” The series was published in 1799 under the name<br />
Caprichos.<br />
In 1800-1814 the French invaded Spain in the Peninsular War.<br />
This war sparked inspiration for Goya. He painted The Third <strong>of</strong> May 1808<br />
and another aquatint etching series named Disasters <strong>of</strong> War. This series<br />
was very brutal and was not published until 1863 due to the controversial<br />
subject matter.<br />
His wife died in 1812. Goya moved in with his<br />
housekeeper in 1814, with whom he is<br />
thought to have born a child. Toward the<br />
last years <strong>of</strong> his life he wanted to be<br />
isolated so he moved to a house in<br />
Francisco Goya, Los Caprichos:<br />
The Sleep <strong>of</strong> Reason Produces<br />
Monsters, 1796-98, aquatint and<br />
etching<br />
Manzanares. The house was named “Quinta del Sordo,”<br />
The House <strong>of</strong> the Deaf. This is where he made his Black<br />
Paintings, a series <strong>of</strong> portraits that portray shocking themes.<br />
He made 14 <strong>of</strong> them and painted directly on the walls with oils. Goya left Spain in 1824 and<br />
moved to Bordeaux and settled in Paris where he died in<br />
1828 at the age <strong>of</strong> 82.<br />
14
Fall 2009<br />
Artists’ Biographies<br />
Hokusai, Self-portrait as an<br />
Old Man, 1839, woodblock<br />
Hokusai<br />
Hokusai was born in 1760 into an artisan family in Japan.<br />
He was born with the name Tokitaro. His name was changed<br />
many times throughout his life because it was common in Japan<br />
for an artist to change his name. However, his changed<br />
more than usual.<br />
At twelve years old he was sent by his father to work at a<br />
book shop. This is where his interest with printmaking started. At<br />
fourteen he became an apprentice to a wood-carver, where he<br />
worked till he was eighteen. This was good practice for him for<br />
carving his future woodblocks. He was then accepted into the<br />
studio <strong>of</strong> Katsukawa Shunsho, an artist <strong>of</strong> ukiyo-e, a style <strong>of</strong><br />
woodblock prints and paintings. After a year his first name<br />
changed to Shunro. Under this name he published his first series<br />
<strong>of</strong> prints in 1779.<br />
Shunsho died in 1793 and<br />
Hokusai began to explore other<br />
styles <strong>of</strong> art such as European<br />
styles. Soon he was expelled from<br />
his school, for unknown reasons. He said that his<br />
embarrassment inspired him to work harder. He then<br />
became more focused on landscapes. He became<br />
associated with the Tawaraya School and adopted the<br />
name Tawaraya Sori.<br />
In 1798, after producing a large amount <strong>of</strong> brush<br />
paintings, he gave his name to a pupil. For the first time<br />
he was a free artist, not affiliated with any school. He<br />
adopted the name Hokusai Tomisa.<br />
Hokusai, Mount Fuji in Clear Weather, 1837,<br />
color woodblock<br />
By 1800 he changed his name to the one that he is now known by, Katsushika<br />
Hokusai. He then published two collections <strong>of</strong> landscapes and began to attract students.<br />
Over the next decade he became increasingly popular. In 1807 he paired with a novelist<br />
to produce images for books. They had artistic differences and had to stop working<br />
together. However, the publisher kept Hokusai on the project because he felt images<br />
were more important than words.<br />
In 1811, at age 51, he changed his name yet again to Taito and created the<br />
Hokusai Manga. The Manga were art manuals that were very popular at the time. He<br />
published 12 volumes. In 1820 he changed his name to Listu; this name marked the<br />
start <strong>of</strong> the period in which he secured his fame in Japan. During this period he<br />
produced the famous 36 Views <strong>of</strong> Mount Fuji, which included the Great Wave <strong>of</strong><br />
Kanagawa.<br />
15
Fall 2009<br />
Artists’ Biographies<br />
Hokusai, The Great Wave <strong>of</strong> Kanagawa, 1832,<br />
color woodblock<br />
Then in 1834 tragedy hit. A fire burned down Hokusai’s studio. He was old at this<br />
time and younger artists were starting to over-shadow him but he never stopped making<br />
art.<br />
He died in 1849 and on his death bed he said that he just wanted five more years<br />
so he could produce a few more pieces. After his death his fame grew throughout the<br />
world and he is still thought <strong>of</strong> as one <strong>of</strong> the greatest Japanese artists.<br />
16
Fall 2009<br />
Artists’ Biographies<br />
Andy Warhol<br />
Andy Warhol, Self-portrait, 1966,<br />
screen-printing<br />
Andrew Warhol was born in Pittsburgh,<br />
Pennsylvania in 1928. He was the third child <strong>of</strong><br />
working class parents, who were immigrants from<br />
Slovakia. He was raised as a strict Catholic. In<br />
third grade he suffered from the disease called St.<br />
Vitus dance, a complication <strong>of</strong> scarlet fever. This<br />
resulted in long-term effects to his skin coloration<br />
and he became a hypochondriac. He was bedridden<br />
for a lot <strong>of</strong> his childhood. To occupy time in<br />
bed he collected old pictures <strong>of</strong> movie stars and put<br />
them up around his bed. He also drew and listened<br />
to the radio. He says that this period <strong>of</strong> his life was<br />
important to the development <strong>of</strong> his personality.<br />
From a young age he showed talent in art.<br />
When he was old enough he studied commercial art at the School <strong>of</strong> <strong>Fine</strong> <strong>Arts</strong> at<br />
Carnegie Institute <strong>of</strong> Technology in Pittsburgh. In 1949 he moved to New York<br />
City and began a successful career in magazine illustration and advertising. In<br />
1950 he gained fame, something he<br />
always craved, from his shoe ads that<br />
were created by using a loose inkblotting<br />
style. RCA hired him to make<br />
record covers and promotional<br />
material. In 1962 he held his first<br />
exhibit, which included the Marilyn<br />
Diptych, 100 Soup Cans, 100 Coke<br />
Bottles, and 100 Dollar Bills.<br />
During the 60s Andy founded<br />
“the factory,” a studio that became a<br />
hang-out for artists <strong>of</strong> all kinds. Once<br />
Andy started working in the factory he<br />
began to use silk-screening. With his<br />
process he was able to produce his<br />
artwork “en masse.” Warhol liked the<br />
idea <strong>of</strong> silk-screening because he<br />
was making art work using images <strong>of</strong><br />
mass produced products and he was<br />
then mass-producing his art work. He<br />
said that he wanted to be a machine.<br />
Warhol became quickly known for his<br />
brightly colored pop art. Some critics<br />
were turned <strong>of</strong>f by his glorification <strong>of</strong><br />
Andy Warhol, Campbell’s Soup, 1968, silk screen-printing<br />
17
Fall 2009<br />
Artists’ Biographies<br />
market goods but it was<br />
clear that there had been a<br />
change in the art world and<br />
he had sparked it.<br />
He started to make<br />
films as well. He cast his<br />
friends, who were artists<br />
and socialites, and would<br />
film in “the factory.” In 1968<br />
Valerie Solanas, a radical<br />
feminist who had been in<br />
one <strong>of</strong> the Warhol films,<br />
came to the studio to pick<br />
up a script but was denied<br />
entry. In a fit <strong>of</strong> anger she<br />
came back and shot<br />
Warhol, as well as an art<br />
critic, and a curator.<br />
Everyone survived.<br />
The 70s were a<br />
Andy Warhol, Turquoise Marilyn, 1962, silk screen-printing<br />
calmer time for Warhol. He<br />
was well-established and<br />
some <strong>of</strong> his patrons were<br />
well-known movie stars and musicians. In 1975 he wrote a book, Philosophy <strong>of</strong><br />
Andy Warhol, where he discussed the nature <strong>of</strong> art.<br />
During the 80s Andy started to get back into the limelight, mainly because<br />
<strong>of</strong> his friendships with new upcoming artists such as Jean-Michel Basquiat.<br />
However, critics were starting to turn on Warhol, saying that he was a “business<br />
artist.” The majority <strong>of</strong> his art was <strong>of</strong> celebrities. People thought he had become<br />
very superficial but Warhol had always been fascinated with celebrities and<br />
people <strong>of</strong> the elite.<br />
In 1987, after gallbladder surgery, Warhol suffered from a heart attack and<br />
died. It was a tragedy in the art world and many gathered at his funeral. His ideas<br />
were bold and different and helped to change the art world. He took chances and<br />
become an icon <strong>of</strong> the 60s and 70s.<br />
18
Fall 2009<br />
THE MUSEUM OF FINE ARTS EXHIBIT:<br />
MATRIX: CONTEMPORARY PRINTMAKING<br />
Roger Shimomura<br />
Kabuki Party<br />
1988<br />
19
Fall 2009<br />
How Technology has changed <strong>Printmaking</strong><br />
When we consider the vastly<br />
different uses <strong>of</strong> prints throughout history, it<br />
is difficult to see where prints might fit into<br />
our modern society. In the years before<br />
computers and the internet, prints were<br />
made as a way <strong>of</strong> advertising an artist’s<br />
skills, or a way to send back images from a<br />
new land. During the time <strong>of</strong> newspapers,<br />
the printing press led the mass production<br />
<strong>of</strong> images and text allowing more <strong>of</strong> the<br />
public to gain access to the news and<br />
current events in their societies.<br />
With the internet today, there is<br />
literally almost no need for any printed<br />
newspapers. Many companies are<br />
switching to online publications in order to<br />
be more eco-friendly. With laser printers<br />
and Xerox machines, the idea <strong>of</strong><br />
painstakingly creating a lithograph or<br />
etching seems humorous. Today<br />
printmaking is used solely as an art form.<br />
This has allowed modern printmakers to<br />
create exceptionally beautiful and creative<br />
prints, which push the boundaries <strong>of</strong><br />
traditional printmaking.<br />
Many modern printmakers create<br />
their prints by incorporating the new tools<br />
and technologies available, even those<br />
used in everyday household chores. The<br />
artist Willie Cole is a prime example <strong>of</strong> this.<br />
He makes lithographs that are based on the<br />
patterns left by an iron when it is face down<br />
for too long.<br />
Willie Cole<br />
Pressed<br />
Iron<br />
Blossom<br />
2005<br />
By incorporating the iron into his<br />
prints Cole merges a modern technology<br />
with the antique technique <strong>of</strong> printmaking.<br />
Modern printmakers also incorporate<br />
unique subject matter reflecting the new<br />
freedom they feel with prints viewed purely<br />
as art. The artist Mark Hosford (biography<br />
on page 27) composes wildly imaginative<br />
and colorful images. In his prints Hosford<br />
draws fictional creatures with multiple arms<br />
and distorted bodies. His figures seem to<br />
float defying the laws <strong>of</strong> physics. Hosford<br />
said these images came from his overactive<br />
imagination as a child.<br />
Mark Hosford<br />
Weight <strong>of</strong> Worm<br />
2005<br />
With the rapid<br />
advancement <strong>of</strong> the digital contribution to<br />
the art world, many artists have begun to<br />
play with the idea <strong>of</strong> the perfection achieved<br />
by such media. Imi Hwangbo creates prints<br />
by hand to mimic<br />
digital precision. She<br />
creates lithographs<br />
that display an exact<br />
repetition and<br />
patterning. Hwangbo<br />
painstakingly creates<br />
prints in the tradition<br />
<strong>of</strong> the old masters,<br />
as if simply using a<br />
computer is not an<br />
option.<br />
Imi Hwangbo<br />
Echo Keeper 1<br />
2001<br />
20
Fall 2009<br />
How Technology has changed <strong>Printmaking</strong><br />
Hwangbo exemplifies another trend<br />
present in printmaking. With the new ease<br />
with which prints can be produced, many<br />
artists instead focus more attention on the<br />
way a print can be hung in a museum.<br />
Artists conceive works that defy the<br />
confines <strong>of</strong> a traditional four-sided frame.<br />
Hwangbo’s works achieve threedimensionality<br />
in their finished state. By<br />
layering print after print the artist builds up a<br />
texture to give the work a presence in<br />
space.<br />
The artist Tim Dooley (biography on<br />
page 24) resists the confines <strong>of</strong> a twodimensional<br />
sheet <strong>of</strong> paper. Dooley creates<br />
large installation pieces in which the prints<br />
become almost interactive. Dooley includes<br />
mixed media, which allows the viewer full<br />
awareness <strong>of</strong> the intricate process and form<br />
<strong>of</strong> prints.<br />
Anita Jung<br />
Madonna<br />
and Child<br />
with St.<br />
Anne<br />
2004<br />
We can see through these many<br />
examples that printmaking today is<br />
drastically different from the printmaking <strong>of</strong><br />
the past. Our need for prints has changed<br />
through the advancement <strong>of</strong> technology, so<br />
the methods and reasons we create prints<br />
has followed suit. The technology that<br />
changed printmaking is not a bad thing, but<br />
rather another adjustment that<br />
contemporary artists have embraced in<br />
creative ways.<br />
Tim Dooley<br />
That Joke Isn't Funny Anymore<br />
2007<br />
Modern printmakers also create<br />
works that reference the heritage <strong>of</strong><br />
printmaking, but they add modern touches.<br />
Anita Jung is known for works that visually<br />
cite old masters’ paintings yet she<br />
incorporates elements <strong>of</strong> home décor<br />
through patterning. By combining new and<br />
old Jung celebrates the roots <strong>of</strong><br />
contemporary art while embracing modern<br />
influences.<br />
21
Fall 2009<br />
How <strong>Museum</strong>s Have Embraced Modern <strong>Printmaking</strong><br />
With the new freedom experienced<br />
by modern printmakers, it should come as<br />
no surprise that artists are trying new and<br />
unexplored forms that defy the conventions<br />
<strong>of</strong> most typical museum exhibitions. But<br />
museums are adapting and learning to<br />
embrace the new forms. <strong>Museum</strong>s now<br />
recognize the artistic value <strong>of</strong> prints.<br />
In recent years the number <strong>of</strong> print<br />
exhibitions in the United States increased<br />
exponentially. The Los Angeles County<br />
<strong>Museum</strong> <strong>of</strong> Art <strong>of</strong>fered five exhibitions on<br />
prints just since 2007. They focused on<br />
traditional Japanese prints while mounting<br />
exhibits displaying prints by artists better<br />
known for their other media, including<br />
Picasso and Matisse.<br />
In<br />
recent<br />
exhibits<br />
museums<br />
have adapted<br />
to the new and expanded techniques and<br />
dimensions <strong>of</strong> printmaking. The exhibit<br />
<strong>Matrix</strong> at the <strong>Museum</strong> <strong>of</strong> <strong>Fine</strong> <strong>Arts</strong> at <strong>Florida</strong><br />
State University will display some <strong>of</strong> the<br />
new techniques currently in practice.<br />
<strong>Matrix</strong> will include artists whose<br />
prints take on a variety <strong>of</strong> forms. The artist<br />
Lynne Allen (biography on page 23) creates<br />
three-dimensional works out <strong>of</strong> prints. Her<br />
work draws on her Native American<br />
heritage, and her paper sculptures<br />
commonly take the shape <strong>of</strong> artifacts <strong>of</strong> that<br />
culture. Her work displays the way prints<br />
can be transformed into something entirely<br />
different than their original form and intent.<br />
Henri Matisse<br />
Le Cauchemar de l'Eléphant Blanc<br />
1947<br />
(LACMA exhibition Matisse on Paper)<br />
In 2001 the <strong>Museum</strong> <strong>of</strong> Modern Art in<br />
New York held an exhibit titled What is a Print?<br />
This exhibition examined the ever changing<br />
medium <strong>of</strong> printmaking in relation to its past<br />
and future. The Mary Brogan <strong>Museum</strong> <strong>of</strong> Art<br />
and Science in Tallahassee recently<br />
presented an exhibition that dealt with the<br />
relationship between printing money and<br />
fine art. Titled CURRENCY: Art As<br />
Money/Money As Art, the exhibit showed<br />
the influence that money as a print form<br />
exerts on the printmaking <strong>of</strong> contemporary<br />
artists.<br />
Lynn Allen<br />
Moccasin #2<br />
2000<br />
<strong>Matrix</strong> will include artists who<br />
developed alternatives to paper as the<br />
foundation on which they print. The artist<br />
Cynthia Lollis prints on unique materials.<br />
Cynthia Lollis created a detailed map <strong>of</strong> the<br />
earth, and printed it on the inside <strong>of</strong> broken<br />
egg shells.<br />
22
Fall 2009<br />
MUSEUM OF FINE ARTS EXHIBIT:<br />
ARTISTS’ BIOGRAPHIES<br />
Lynne Allen<br />
Moccasin #2<br />
2000<br />
Lynne Allen<br />
Knife Sheath<br />
2006<br />
Lynne Allen<br />
Lynne Allen is well known<br />
both for her traditional as well as<br />
her three-dimensional prints. Her<br />
inspiration comes from the history<br />
<strong>of</strong> the women in her family as<br />
members <strong>of</strong> the Standing Rock<br />
Indian Reservation in South<br />
Dakota. When the matriarchs in<br />
her family were sent to<br />
government boarding schools as<br />
part <strong>of</strong> a plan to “educate the<br />
Indian,” they became outsiders in<br />
both the Native American and<br />
white worlds. Lynne Allen’s work<br />
reflects her “foot-in-both-worlds”<br />
existence. Although Native<br />
American, she appears to the<br />
outside world as a white woman. A<br />
central theme <strong>of</strong> her prints and<br />
three-dimensional objects is the<br />
misunderstanding between Native<br />
and white Americans.<br />
In Moccasin #2, Lynne Allen showcases the one-<strong>of</strong>-a-kind quality <strong>of</strong> her work;<br />
layered etchings on handmade paper have been sewn together to form threedimensional<br />
moccasins. The moccasin is an iconic image <strong>of</strong> Native American culture.<br />
The use <strong>of</strong> such a recognizable image to convey a message is characteristic <strong>of</strong> her<br />
work; Allen <strong>of</strong>ten features moccasins, knife sheaths, and stamp bags constructed <strong>of</strong><br />
original 19 th century land documents or<br />
etchings on handmade paper.<br />
Lynne Allen is the Director <strong>of</strong><br />
the School for Visual <strong>Arts</strong> at Boston<br />
University as well as a pr<strong>of</strong>essor <strong>of</strong> art.<br />
Her work has been exhibited both<br />
nationally and internationally and is a<br />
part <strong>of</strong> the permanent collection <strong>of</strong><br />
museums throughout the world. With<br />
over 100 exhibitions featuring her work<br />
in the United States alone, Allen has<br />
been recognized both through awards<br />
and exhibitions as one <strong>of</strong> the<br />
outstanding artists <strong>of</strong> her field.<br />
23
Fall 2009<br />
MUSEUM OF FINE ARTS EXHIBIT:<br />
ARTISTS’ BIOGRAPHIES<br />
Tim Dooley is known for<br />
his printmaking as well as his<br />
Mixed Product installations.<br />
These installations are based<br />
on and center around printed<br />
panels. Dooley considers<br />
these Mixed Product panels as<br />
the core <strong>of</strong> his work. The<br />
panels begin as traditional<br />
collages which Dooley then<br />
augments further using his<br />
computer. The collage<br />
imagery concentrates on the<br />
space between oppositional<br />
human emotions within a<br />
violent, consumer-driven<br />
society, feelings such as fear<br />
and hope or alienation and<br />
intimacy. Dooley is constantly<br />
making new panels and feels<br />
that Mixed Product will never<br />
truly be finished as its<br />
evolution coincides with his<br />
evolution as an artist.<br />
Tim Dooley<br />
Tim Dooley<br />
Mixed Product<br />
2005<br />
Dooley’s installations,<br />
like the one pictured here,<br />
employ brightly colored prints,<br />
wires, and other media which twist and coil among each other, disguising what are <strong>of</strong>ten<br />
sinister messages about the unpredictable and sometimes dangerous aspects <strong>of</strong><br />
modern technology and its place in society.<br />
Tim Dooley is an Associate Pr<strong>of</strong>essor <strong>of</strong> <strong>Printmaking</strong> at the University <strong>of</strong><br />
Northern Iowa. He has participated<br />
in multiple group, solo, and juried<br />
exhibitions in locations throughout<br />
the United States.<br />
Tim Dooley<br />
Mixed Product (detail)<br />
2005<br />
24
Fall 2009<br />
MUSEUM OF FINE ARTS EXHIBIT:<br />
ARTISTS’ BIOGRAPHIES<br />
Denise Bookwalter<br />
Denise Bookwalter<br />
Luftschiff<br />
2008<br />
The other prints in the series<br />
follow the same gray, white, and yellow<br />
color scheme and, like the example<br />
shown here, they resemble blueprints<br />
that have been carefully arranged and<br />
layered to detail Bookwalter’s<br />
explorations into the changing<br />
properties <strong>of</strong> German aviation.<br />
Denise Bookwalter is an<br />
Assistant Pr<strong>of</strong>essor and Area Head <strong>of</strong><br />
<strong>Printmaking</strong> at <strong>Florida</strong> State University.<br />
Generally, Denise Bookwalter’s<br />
various print series result from research<br />
and investigations into the history <strong>of</strong><br />
technology. They explore the changing<br />
perspectives <strong>of</strong> the human view <strong>of</strong><br />
technological development. As an<br />
expansion <strong>of</strong> a dialogue between the<br />
historical and the contemporary,<br />
Bookwalter’s prints <strong>of</strong>ten use 3-D<br />
modeling s<strong>of</strong>tware as well as other<br />
technologies. Bookwalter translates her<br />
prints using traditional and<br />
experimental techniques, creating “a<br />
dialogue between the virtual and the<br />
actual … science and art.”<br />
In Luftschiff (left), one <strong>of</strong> a series<br />
<strong>of</strong> prints <strong>of</strong> the same title, Denise<br />
Bookwalter demonstrates her interest<br />
in the structure and history <strong>of</strong><br />
technology, specifically the<br />
development <strong>of</strong> aviation. This print<br />
details the luftschiff, German for<br />
airship. Bookwalter shows the luftschiff<br />
from multiple views via a process that<br />
utilizes three-dimensional modeling<br />
s<strong>of</strong>tware to translate the modeling into<br />
a two-dimensional print.<br />
Denise Bookwalter<br />
Pieces and Parts (detail)<br />
2008<br />
25
Fall 2009<br />
MUSEUM OF FINE ARTS EXHIBIT:<br />
ARTISTS’ BIOGRAPHIES<br />
Kabuya Bowens<br />
Kabuya Bowens<br />
The Blackburn Suite: Blackburn Wing Figures<br />
2007<br />
Kabuya Bowens’<br />
interest in printmaking first<br />
began while she was doing<br />
graduate work for her MFA at<br />
Pratt Institute in Brooklyn,<br />
NY. Her early inspiration was<br />
found in the work <strong>of</strong> German<br />
artist Kathe Kollwitz and<br />
American artist Elizabeth<br />
Catlett, whose prints and<br />
sculptures dealt with social<br />
and political issues in relation<br />
to the human condition. After<br />
her graduate research<br />
proposal to work with<br />
Elizabeth Catlett was<br />
accepted at Pratt Institute,<br />
and Bowens was given a full<br />
scholarship opportunity, she<br />
was next introduced to<br />
Robert Blackburn for an<br />
independent study at The<br />
<strong>Printmaking</strong> Workshop.<br />
Bowens’ experience at<br />
The <strong>Printmaking</strong> Workshop<br />
with Blackburn heavily<br />
influenced her work as a<br />
printmaker. She learned to<br />
work as a pr<strong>of</strong>essional printer<br />
for different artists, galleries,<br />
and museums, getting the<br />
opportunity to meet people<br />
from all over the world. While<br />
working with Blackburn, Bowens visited the facilities <strong>of</strong> the Tyler School <strong>of</strong> Art in<br />
Philadelphia and transferred there, later traveling to Rome, Italy to work with Nona<br />
Hershey.<br />
Kabuya Bowens’ work is inspired by the visual critique <strong>of</strong> the African-American<br />
experience in the United States, and explores ideas <strong>of</strong> memory, human relations, and<br />
the questionable nature <strong>of</strong> truth. Her current work takes an interdisciplinary approach to<br />
printmaking, concentrating on the unique and monoprint concepts <strong>of</strong> the printmaking<br />
process rather than several images published in an edition. Her most recent creative<br />
endeavor is Rituals and Masked Identities, a large group <strong>of</strong> prints consisting <strong>of</strong> several<br />
smaller series.<br />
Kabuya Bowens is an Assistant Pr<strong>of</strong>essor <strong>of</strong> Art at <strong>Florida</strong> State University.<br />
26
Fall 2009<br />
MUSEUM OF FINE ARTS EXHIBIT:<br />
ARTISTS’ BIOGRAPHIES<br />
Mark Hosford<br />
Mark Hosford<br />
The Hidden Pieces from Silhouette Series<br />
2002 – 2008<br />
Mark Hosford is a musician,<br />
animator, and artist whose prints<br />
and drawings are inspired by the<br />
vivid dreams he had as a child as<br />
well as the type <strong>of</strong> “fantastic<br />
imagery and sociological<br />
investigations” found in the prints<br />
<strong>of</strong> Los Caprichos by Francisco<br />
Goya. Hosford first became<br />
interested in printmaking because<br />
the method for creating an image<br />
is indirect, and the process<br />
afforded him the ability to produce<br />
multiples.<br />
When working on a print,<br />
many steps are taken before the<br />
actual outcome is known. Hosford<br />
describes this relationship as<br />
“collaborating” with the medium<br />
instead <strong>of</strong> “commanding” it. He<br />
also likens this process to a math<br />
problem, his favorite subject in<br />
school, where the artist has to go<br />
through many steps in solving a<br />
problem in order to be rewarded<br />
with an answer.<br />
His recent prints come from different moments in life, some specifically drawn<br />
from Hosford’s own past, and some based on ambiguous scenarios from his<br />
observations <strong>of</strong> society. The subjects <strong>of</strong> these range from the first contemplation <strong>of</strong> loss,<br />
such as the death <strong>of</strong> a loved one, to issues such as gender and religion. His figures<br />
<strong>of</strong>ten appear in silhouette so as to give a more general representation <strong>of</strong> these<br />
experiences.<br />
In The Hidden Pieces, Hosford includes slightly grotesque features that <strong>of</strong>ten<br />
inhabit his works. The strange pile <strong>of</strong> monsters partially hidden behind the screen is<br />
exactly the type <strong>of</strong> nightmarish image frequently seen in Hosford’s art. The prevalent<br />
use <strong>of</strong> pink to dominate both the entire picture plane and the screen behind the figure<br />
suggests a traditional characterization <strong>of</strong> the female gender. He renders the figure in<br />
silhouette; she strokes her own hair and looks down. She symbolizes contemplation or<br />
possibly melancholy. While the exact subject matter is intentionally ambiguous, the<br />
contrast between the young girl and the horrific monsters evokes the strong emotions <strong>of</strong><br />
a vivid dream, or perhaps a nightmare.<br />
Mark Hosford is an Assistant Pr<strong>of</strong>essor <strong>of</strong> Art at Vanderbilt University in<br />
Nashville, Tennessee, and holds both a Bachelor <strong>of</strong> <strong>Arts</strong> and Master <strong>of</strong> <strong>Arts</strong> degrees in<br />
printmaking.<br />
27
Fall 2009<br />
MUSEUM OF FINE ARTS EXHIBIT:<br />
ARTISTS’ BIOGRAPHIES<br />
Roger Shimomura<br />
Roger Shimomura’s paintings and<br />
prints address issues associated with<br />
Asian-American culture, <strong>of</strong>ten inspired by<br />
the diary kept by his immigrant<br />
grandmother. Shimomura is a third<br />
generation Japanese-American interned<br />
with his family after the Japanese bombed<br />
Pearl Harbor in 1942. His paintings, prints,<br />
and theater pieces focus not only on racial<br />
issues and stereotyping <strong>of</strong> Asian-<br />
Americans but also on life in an internment<br />
camp. For Tokio Ueyama (right) shows a<br />
typical scene inside a Japanese internment<br />
camp, combining the colors and graphic<br />
elements <strong>of</strong> American Pop Art, like that <strong>of</strong><br />
Andy Warhol, with a stereotypical portrayal<br />
<strong>of</strong> an Asian woman writing calligraphically<br />
while dressed in a traditional kimono and<br />
obi. The juxtaposition <strong>of</strong> these elements<br />
evokes Shimomura’s dual interest. He<br />
portrays the ill treatment <strong>of</strong> an entire<br />
population as well as the ethnic confusion<br />
<strong>of</strong> many Japanese Americans when faced<br />
with the conflicting cultures <strong>of</strong> modern<br />
America and their Japanese heritage.<br />
Formerly a pr<strong>of</strong>essor at universities<br />
in Kansas and Minnesota, Roger<br />
Shimomura retired from teaching in 2004,<br />
and his personal papers and letters are<br />
being collected by the Archives <strong>of</strong> American<br />
Art, Smithsonian Institute, in Washington<br />
D.C. Shimomura has had over 125 solo<br />
exhibitions <strong>of</strong> his paintings and prints. He<br />
has presented several pieces <strong>of</strong><br />
experimental theater in New York,<br />
Minneapolis, and Washington D.C.<br />
Roger Shimomura<br />
Mistaken Identities: For Tokio Ueyama<br />
2005<br />
Roger Shimomura<br />
Mistaken Identities: For Seattle P.I.<br />
2005<br />
28
Fall 2009<br />
LESSON PLANS:<br />
LEARNING ABOUT PRINTMAKING<br />
Albrecht Durer<br />
Mechanical Creation <strong>of</strong> a Perspective Image<br />
Etching, 1525<br />
29
Fall 2009<br />
Lesson Plan<br />
Pop Art Food<br />
Session Activity: Students will look at Andy Warhol’s Soup Can print and discuss why they<br />
think he created this work. They can also see that art can be found everywhere, even if it is a<br />
soup can. After they discuss the work, students will draw their favorite foods and write short<br />
poems on the drawings about the food. After they have finished they will share their pictures<br />
and poems with the class.<br />
Level: 1-5 th grade<br />
Time: 45 minutes<br />
Key Concept: 1. Students will learn about Andy Warhol and pop art.<br />
2. Students will see that art can be found anywhere.<br />
write<br />
3. Students will get to create their own pop art images <strong>of</strong> their favorite foods and<br />
about them.<br />
Materials:<br />
Image <strong>of</strong> Andy Warhol’s Soup Can<br />
Paper<br />
Markers /pencils/pens<br />
Vocabulary: Pop art, printmaking, screen-printing<br />
Procedure:<br />
1. Students will learn about the pop art movement. They will learn about Andy Warhol and<br />
his life and what he did for the art world.<br />
a. Pop art is an art movement that began in the U.S. in the 1950s and reached<br />
its peak <strong>of</strong> activity in the 1960s, chose as its subject matter the anonymous,<br />
everyday, standardized, and banal iconography in American life, such as<br />
comic strips, billboards, commercial products, and celebrity images, and dealt<br />
with them typically in such forms as outsize commercially smooth paintings,<br />
mechanically reproduced silkscreens, large-scale facsimiles, and s<strong>of</strong>t<br />
sculptures.<br />
b. Andy Warhol was born in Pittsburg in 1928. He was always fascinated by<br />
celebrities and socialites. He was sick a lot as a young kid and would spend<br />
hours in his bed drawing or looking at magazine clippings. Once he was old<br />
enough he went to an art school for commercial arts. He then gained an<br />
interest in advertising. He did ads for shoes which gave him much success<br />
and was then hired to do record covers by a large record company. Once he<br />
had gained fame he started doing his own work in his own studio which<br />
30
Fall 2009<br />
Lesson Plan<br />
became known as “the factory.” This became a hang- out to many socialites<br />
and other artists. Everyone wanted to be in with Warhol. His art work was<br />
original and eye catching. He made simple images using icons and objects<br />
that were in everyday life but he found a way for people to appreciate them<br />
as art. He made the process <strong>of</strong> silkscreening famous and continues to be the<br />
face <strong>of</strong> pop art.<br />
2. Students will view Andy Warhol’s Soup Can and discuss why they think he made it.<br />
a. Why do you think he wanted to make a picture <strong>of</strong> a soup can?<br />
b. What do you think the message was that he was trying to show people?<br />
-Maybe that art is everywhere, even in your kitchen.<br />
- Maybe soup is Warhol’s favorite food.<br />
3. Students will then get pieces <strong>of</strong> paper and draw their own favorite foods.<br />
4. Students will write short poems on their pictures about their favorite foods.<br />
a. Students can use the template attached to aid them in writing the poems.<br />
b. Students can make their poems into concrete poems by making the words<br />
form a<br />
different shape such as the shape <strong>of</strong> the food they are writing<br />
about.<br />
Summary: Students will then share their pictures and read their short poems out loud to the<br />
class.<br />
Evaluation:<br />
1. Through discussion students showed an understanding <strong>of</strong> pop art.<br />
2. Through discussion students showed learning about Andy Warhol and his contribution to<br />
the art world.<br />
3. Students made their own pop art images <strong>of</strong> their favorite foods.<br />
4. Students wrote poems about their favorite foods.<br />
Extension: Students can use their drawings as preparation for printmaking. Stencils could<br />
be cut to replicate the idea <strong>of</strong> silk-screening and Warhol’s method. Styr<strong>of</strong>oam prints could be<br />
made by following the directions in the next lesson plan.<br />
Example <strong>of</strong> Concrete Poetry<br />
31
Fall 2009<br />
Lesson Plan<br />
_<br />
My Favorite Food<br />
Name <strong>of</strong> Food:<br />
_____________________________________________________________________<br />
______<br />
Two Adjectives Describing the Food:<br />
________________________________________________<br />
(Give color, shape, or texture words)<br />
A Phrase to Describe the Taste <strong>of</strong> the Food:<br />
________________________________________<br />
_____________________________________________________________________<br />
Cheese<br />
S<strong>of</strong>t, Yellow-orange<br />
Extra Sharp<br />
Comfort<br />
Author: Morgan Jones<br />
32
Fall 2009<br />
LESSON PLAN<br />
Relief Printing with Styr<strong>of</strong>oam<br />
Printing Everyday Subjects like Durer and Hokusai<br />
Session Activity:<br />
Students will create relief prints, using inexpensive and readily available materials. This process<br />
will show them how prints can be made, but will also give them a better understanding <strong>of</strong> how<br />
more pr<strong>of</strong>essional prints are produced using more advanced materials. They will explore prints<br />
made by famous artists from various times. By looking at these older prints students can relate<br />
their lives to the past. <strong>Printmaking</strong> for children develops manual skill, coordination, visual<br />
projection and discipline.<br />
Level:<br />
1 st -8 th grade<br />
Time Needed:<br />
1-2 hours<br />
Materials Needed:<br />
Acrylic paint or ink<br />
Styr<strong>of</strong>oam trays (clean ones used for meat packages are ideal)<br />
Pencils or pens<br />
Cookie sheet, or similar object, to hold paint<br />
Paint rollers or paint brushes<br />
Heavy weight paper<br />
Images <strong>of</strong> prints<br />
Worksheet for evaluation<br />
Optional Material:<br />
Rolling pin<br />
Felt<br />
Objectives:<br />
1. Students will learn about historical printmakers, and the images they produced.<br />
2. Students will relate things in their lives to the things they see in the prints.<br />
3. Students will explore the process with which relief printing is made.<br />
4. Students will demonstrate their creativity.<br />
5. Students will develop an understanding <strong>of</strong> how one print may vary from another from the<br />
same plate depending on paint applied and pressure used.<br />
33
Fall 2009<br />
LESSON PLAN<br />
Vocabulary:<br />
Relief<br />
Woodcut<br />
Bleeding<br />
Procedure:<br />
1. Teachers will show images <strong>of</strong> prints made by Durer and Hokusai, provided at the end <strong>of</strong><br />
the lesson plan.<br />
2. Teachers will provide information about these artists and their historical significance;<br />
information is provided on these artists and their significance throughout the packet.<br />
3. Students will answer a series <strong>of</strong> questions designed to get them thinking and talking<br />
about the prints they have seen.<br />
4. Students will sketch images that relate to the themes <strong>of</strong> the prints they are shown, for<br />
the Hokusai, students should be encouraged to draw a landscape they are familiar with,<br />
and for the Durer, students should be encouraged to draw another animal.<br />
5. Students will produce prints based on these sketches.<br />
6. Teachers will cut the Styr<strong>of</strong>oam trays so that there are flat surfaces with which to work.<br />
7. Students will use pencils or pens, or for older students carpenters nails, to cut out the<br />
lines in their prints, remembering that the images will appear in reverse.<br />
8. Students will use rollers or paint brushes to apply paint to their Styr<strong>of</strong>oam trays, or plates<br />
to be technical.<br />
9. Students will then lay the plates down on a table and place sheets <strong>of</strong> paper over the<br />
plates, patting gently, to prevent bleeding, to transfer the paint.<br />
10. Optional Steps: Students may place pieces <strong>of</strong> felt over their plates and gently roll over<br />
them with rolling pins. This most closely simulates the action <strong>of</strong> using a printing press.<br />
This step may also just be demonstrated by the teacher.<br />
11. Students will allow their papers or piece <strong>of</strong> felt, to dry, and may repeat the process to<br />
create an edition <strong>of</strong> prints.<br />
12. Students will then answer questions relating to the images they created in comparison to<br />
the sample images by Durer and Hokusai.<br />
Evaluation:<br />
Through hands-on creation, students will learn the process <strong>of</strong> creating relief prints, using<br />
comparable materials to those <strong>of</strong> the pr<strong>of</strong>essionals. By creating these relief prints, students will<br />
be more aware <strong>of</strong> the time it takes to produce the plates and also the multiple images that can<br />
be produced using this method. Through the production <strong>of</strong> prints, students will show a<br />
relationship between historical knowledge and imagery and their own lives.<br />
34
Fall 2009<br />
LESSON PLAN<br />
Images for Lesson Plan<br />
Hokusai<br />
The Great Wave <strong>of</strong>f Kanagawa<br />
woodcut print, 1823-29<br />
Albrecht Durer<br />
Rhinoceros<br />
etching print, 1515<br />
35
Fall 2009<br />
LESSON PLAN<br />
Worksheet prior to <strong>Printmaking</strong>:<br />
Hokusai’s The Great Wave<br />
Name everything in this print that is similar to something you have seen before?<br />
Hokusai lived in Japan, an island country surrounded by ocean. Where do you think<br />
Hokusai saw a huge wave like this? What was the weather like when he saw this?<br />
Hokusai also wanted people to look at Mt. Fuji, an important mountain in Japan. What is<br />
the reason Hokusai placed it behind the water?<br />
Hokusai made many pictures <strong>of</strong> Mt. Fuji. When you look at this print, do you think<br />
Hokusai though the ocean was more important or Mt. Fuji was more important to Japan?<br />
<strong>Florida</strong> is a peninsula, a state surrounded by ocean on three sides. Hokusai’s Great<br />
Wave shows his experience <strong>of</strong> Japanese terrain and weather. What picture <strong>of</strong> <strong>Florida</strong><br />
would you create to show your experiences <strong>of</strong> <strong>Florida</strong> Terrain and weather? Do you think<br />
the land or the ocean is more important in <strong>Florida</strong>? If you were sitting in a boat <strong>of</strong>f the<br />
coast <strong>of</strong> <strong>Florida</strong> and you could draw a picture, what would it include? What would you<br />
want to show about the ocean? What would you show on the land?<br />
Durer’s Rhinoceros<br />
Where have you seen this animal before? Your house, the zoo, in the wild?<br />
Albrecht Durer lived in Germany (in Europe) in the 1400’s. He was creating<br />
pictures <strong>of</strong> animals that live in Africa. Where do you think Durer saw this animal?<br />
Were there zoos 500 years ago? Where else might Durer seen a rhinoceros?<br />
Why would Durer draw this animal as opposed to another type <strong>of</strong> animal? How<br />
would you decide which animal to draw? Would you consider your own<br />
fascination with an animal’s appearance? Would you consider the rarity <strong>of</strong> an<br />
animal? That an animal is threatened with extinction? That an animal holds an<br />
important place in a local ecosystem? Something else?<br />
36
Fall 2009<br />
LESSON PLAN<br />
Worksheet to complete after <strong>Printmaking</strong>:<br />
How is your print the same as the Durer or Hokusai print?<br />
How is your print different than the Durer or Hokusai? Why do you think there are<br />
differences?<br />
In what ways do we use prints today? In what ways were they used in the past?<br />
How has technology changed our use <strong>of</strong> prints? Where can you see prints<br />
today?<br />
37
FALL 2009<br />
LESSON PLAN<br />
I’m a Little Culturist and Printmaker<br />
Session Activity:<br />
Students will create prints which characterize their own ethnic cultural traditions<br />
using as inspiration the print works, Deer Skin Bottom Bag, Knife Sheath, and<br />
Moccasin #2 by Lynne Allen. The United States is a melting pot; every American comes<br />
from a different cultural and historic background. Many families still keep some <strong>of</strong> their<br />
conventions throughout generations. In this activity, students will have the opportunity to<br />
reflect on their own cultures, and design representative prints to express the shared<br />
values and perspectives <strong>of</strong> their families.<br />
Level: 5-7 grades<br />
Time needed: two hours<br />
Objectives:<br />
1. Help students to recognize their own cultural backgrounds which play an<br />
important role in shaping people’s identity and confidence.<br />
2. Students will become aware that cultural diversity is one <strong>of</strong> the important<br />
features <strong>of</strong> their environment and will discover family histories <strong>of</strong> people around<br />
them.<br />
3. Students will create cultural symbols from their own perspectives.<br />
Materials: Newspapers, magazines, website images, collage materials, paper, glue,<br />
scissors and copy machine.<br />
Vocabulary:<br />
1. Culture: the way <strong>of</strong> life, particularly general customs and beliefs <strong>of</strong> a group <strong>of</strong><br />
people at a specific time.<br />
2. Tradition: a belief, principle or way <strong>of</strong> acting which people in a particular society<br />
or group have continued to follow for a long time, or all <strong>of</strong> these in a particular<br />
society or group.<br />
3. Sheath: a cover into which a knife or sword fits so that the blade cannot cut<br />
someone when it is not used.<br />
4. Moccasin: a shoe which the wearer's foot slides into and which is made from<br />
s<strong>of</strong>t leather with stitches around the top at the front.<br />
5. Vellum: a material used in the past for writing on or for covering a book, made<br />
from the skins <strong>of</strong> young animals, especially cows or sheep.<br />
38
FALL 2009<br />
LESSON PLAN<br />
Procedure:<br />
1. Introduce the print works by Lynne Allen.<br />
a. Show the images <strong>of</strong> Deer Skin Bottom Bag, Knife Sheath, and Moccasin<br />
#2.<br />
Lynne Allen, Deer Skin Bottom Bag,<br />
etching on 19th-century handwritten<br />
land document on vellum, handwork,<br />
deer skin.<br />
Lynne Allen, Knife Sheath, etching on 19th-century<br />
antique handwritten land document on vellum, handwork,<br />
porcupine quills, wire, rusted bottle caps,<br />
Lynne Allen, Moccasin #2, etching on handmade paper, linen<br />
thread, handwork.<br />
39
FALL 2009<br />
LESSON PLAN<br />
b. Demonstrate the inspiration <strong>of</strong> the three works through the artist’s<br />
statement.<br />
“All the matriarchs in my family have been members <strong>of</strong> the Standing<br />
Rock Indian Reservation in South Dakota. All were sent away to<br />
government boarding schools, to realign their cultural heritage. All became<br />
outsiders in both the native and the white world. Everybody comes to their<br />
own cultural truths, and mine is that I am the product <strong>of</strong> the government’s<br />
plan to educate the Indian. I can trace my Native heritage back six<br />
generations to Ita ta Win (Wind Woman), born in the 1830’s. If you meet<br />
me you don’t believe I have native blood. This fact, how we view each<br />
other, plays a big part in my image making. Everyone always<br />
misunderstands everyone else. My work is about the difference between<br />
what is true about the unknown and what is imagined. … I combine<br />
personal experiences with fiction, and as a visual artist I incorporate the<br />
passions that drive me personally… .“<br />
—LA<br />
Because her family background mixed two distinctive civilizations, Lynne<br />
uses her artworks to discuss the ways people view one another and the<br />
misunderstanding that may cause in the process. She wants people to<br />
realize the difference between truth and imagination when looking at the<br />
culture and traditions <strong>of</strong> someone else. She therefore uses the art pieces<br />
to describe real stories from her cultural perspective.<br />
C. Discuss the idea <strong>of</strong> culture with students.<br />
What is culture? What is tradition?<br />
Do you know anything about your cultural background? Is your<br />
family Italian, Asian, African-American? Does your family celebrate<br />
that background in some way? Explain.<br />
Does your family have its own traditions? Describe a tradition <strong>of</strong><br />
your family. Do you enjoy this family tradition or not? Explain.<br />
Think about a symbol that represents your culture or your family.<br />
2. Pass the papers and materials around and have students use the<br />
newspaper and magazine pages to find images to symbolize their cultures<br />
or families.<br />
3. Students will start to collage and create their own cultural icons.<br />
4. Students will use the copy machine to print out their cultural symbols.<br />
5. Have students share and explain their cultural symbols.<br />
40
FALL 2009<br />
LESSON PLAN<br />
Evaluation:<br />
By making their own cultural symbols and sharing them, students will learn what<br />
constitutes culture and tradition and will understand the diversified culture in the<br />
United States.<br />
Extension:<br />
Have students follow Lynne Allen’s process by using their prints (Xeroxed copies)<br />
to make three dimensional objects which also represent their families or ethnic<br />
backgrounds.<br />
Example:<br />
41
FALL 2009<br />
LESSON PLAN<br />
Color, Color, Magic Power<br />
Session Activity:<br />
Students will concentrate on three printmaking artworks by two artists: Ripple Storm<br />
by Luis Cruz Azeceta; Big House and Swirl House by Bradlee Shanks. The subjects in<br />
these prints all describe the extremely powerful threat <strong>of</strong> nature, one that could bring<br />
serious disaster. However, there are differences between the two artists’ color options<br />
as well as their approaches to presenting their perspectives. Therefore, in this session<br />
students will discover the mysterious force <strong>of</strong> color and learn a basic message about the<br />
way every color expresses special emotion and evokes a distinct atmosphere.<br />
Level: Grades 3– 6<br />
Time needed: one and half hours.<br />
Objectives:<br />
1. Students will observe the opposing descriptions <strong>of</strong> disaster presented by the<br />
two artists.<br />
2. Students will learn that color is a capital component in the construction <strong>of</strong> an<br />
artwork.<br />
3. Students will compare and contrast different artworks by color.<br />
4. Students will study the basic definition and potential expression <strong>of</strong> each color.<br />
5. Students will use their own words to describe and interpret the three artworks.<br />
Materials:<br />
Image <strong>of</strong> Ripple Storm by Luis Cruz Azeceta, Big House and Swirl House by Bradlee<br />
Shanks.<br />
Markers/ Pencils/Pens/Worksheets<br />
Vocabulary:<br />
Ripple/ Swirl<br />
Fertility /Nobility<br />
Procedure:<br />
1. The teacher will show the images <strong>of</strong> three printmaking works, Ripple Storm by<br />
Luis Cruz Azeceta and Big House and Swirl House by Bradlee Shanks. The<br />
students will be given information about the artists and the artworks.<br />
42
FALL 2009<br />
LESSON PLAN<br />
a. Luis Cruz Azeceta is a full-time artist who owns a studio in New Orleans.<br />
Hurricanes have repeatedly threatened his city. Luis gives the following art<br />
statement for Ripple Storm:<br />
“In New Orleans, where I now live, water … caused displacement post-<br />
Katrina. [The] etching, … relate[s] to that experience.”<br />
—LCA<br />
b. Bradlee Shanks is now an associate Pr<strong>of</strong>essor at the University <strong>of</strong> South<br />
<strong>Florida</strong> in Tampa. His art statement follows:<br />
“My pictures are meant to serve as a trigger, a point <strong>of</strong> departure for knowing<br />
something I otherwise would not know. … Currently I am creating screen<br />
prints using the landscape <strong>of</strong> a remote <strong>Florida</strong> island as my muse.”<br />
—BS<br />
Bradlee uses his works as a door to the unknown world. He uses his<br />
artwork as an exploration <strong>of</strong> ideas and sees the process as an adventure <strong>of</strong><br />
discovery.<br />
2. The teacher will use the worksheet to discuss several questions about the prints.<br />
a. The students will give written answers to worksheet #1. A class discussion<br />
will follow.<br />
b. The teacher begins the discussion.<br />
Ask the students, “What is the distinction among these three print works?<br />
What elements make each look so different?<br />
c. Do you think color choice decides the atmosphere <strong>of</strong> the artworks?<br />
d. Which print better matches your idea <strong>of</strong> disaster? If you were the artist,<br />
which colors would you use to depict the same topic?”<br />
3. The teacher will give some basic meanings associated with color to the<br />
students. Use worksheet #2, Color Matters to start a simple activity with color.<br />
Use the worksheet to find out possible messages associated with each color.<br />
Next give the students the information about the artist and their artworks as well<br />
as information about color in the second section, the Color with Magic Words<br />
section. Stress that color may mean different emotions and messages to different<br />
people.<br />
Evaluation:<br />
1. Did the student understand and participate in the activities?<br />
2. Did the student discover differences, including color differences,<br />
among the three prints?<br />
3. Did the student learn the possible meaning <strong>of</strong> each color?<br />
4. Did the student express his/ her own ideas through the process?<br />
43
FALL 2009<br />
LESSON PLAN<br />
Worksheet 1<br />
•How do you feel about this print?<br />
Use one word to describe your<br />
feeling? (Harmonious, cheerful,<br />
frightened, powerful, unpredictable)<br />
_____________<br />
•Did you know it was about a<br />
disaster when you saw it? (Circle<br />
your answer)<br />
no<br />
Yes No Yes and<br />
Luis Cruz Azaceta, Ripple Storm, monot<br />
hi<br />
•Is there any clue in this work which<br />
gives you the idea <strong>of</strong> misfortune?<br />
(Color, shape, line, composition,<br />
subject)<br />
Bradlee Shanks, Big House,<br />
print<br />
•How do you feel about<br />
these two prints? Circle<br />
one or more words.<br />
(Dreadful, changeful,<br />
dynamic, natural)<br />
_____________<br />
•Compare these to the first<br />
print. What are the<br />
differences you see?<br />
_____________<br />
•Do you feel these two<br />
prints more explicitly<br />
convey a disaster<br />
atmosphere? (Circle your<br />
answer and explain)?<br />
Yes No Yes and no<br />
Bradlee Shanks, Swirl House,<br />
print<br />
44
FALL 2009<br />
LESSON PLAN<br />
WORKSHEET 2<br />
Color Matters Each color has a different magic word. Match the<br />
colors in Column #1 to the words in Column #2. You can match a color to<br />
more than one word.<br />
Column #1 Column # 2<br />
Red<br />
Organge<br />
Yellow<br />
Green<br />
Gray<br />
Purple<br />
Blue<br />
White<br />
Black<br />
Trust<br />
Storm<br />
Passion<br />
Power<br />
Joy<br />
Light<br />
Energy<br />
Wisdom<br />
Safety<br />
Color with Magic words: The following color messages refer<br />
to western definitions.The same color may mean something different to a<br />
different culture and people. For example in Asian culture white <strong>of</strong>ten<br />
symbolizes death while in western socity it symbolizes purity and<br />
innocence. The teacher may provide further information about color<br />
meanings within other cultures. Also, colors may symbolize different<br />
meanings to different people.<br />
Red: Color <strong>of</strong> fire and blood. Red <strong>of</strong>ten symbolizes war, power, danger,<br />
passion, and love.<br />
Orange: Orange combines yellow and red. It <strong>of</strong>ten symbolizes joy,<br />
sunshine, and enthusiasm.<br />
Yellow: Color <strong>of</strong> sunshine. It <strong>of</strong>ten symbolizes joy, happiness, intellect,<br />
and energy.<br />
45
FALL 2009<br />
LESSON PLAN<br />
Green: Color <strong>of</strong> nature. It <strong>of</strong>ten symbolizes growth, harmony, freshness,<br />
and fertility.<br />
Grey: Grey combines opposite colors and can be a natural and balanced<br />
color.It can also symbolize a dark or depressed mood. Usually grey<br />
is a color seen in storm clouds and some metals.<br />
Purple: Color which combines blue and red. It <strong>of</strong>ten symbolizes power,<br />
nobility, luxury and ambition.<br />
Blue: Color <strong>of</strong> sky and sea. It <strong>of</strong>ten symbolizes trust, wisdom, loyalty,<br />
intelligence, and faith.<br />
White: Color <strong>of</strong> pefection. It <strong>of</strong>ten symbolizes light, goodness, innocence<br />
and purity.<br />
Black: Often the color <strong>of</strong> mystery, power, elegence, formality, and death.<br />
Discussion Questions:<br />
1. Do you think color choices decide the atmosphere <strong>of</strong> the artworks<br />
discussed in worksheet #1? Describe the colors you see.<br />
2. Can you determine what different colors mean to each <strong>of</strong> the<br />
artists?<br />
3. If you were the artist, which colors would you use to depict the<br />
same topic?<br />
46
Fall 2009<br />
Lesson plan<br />
Roger Shimomura and<br />
the battle against<br />
racial discrimination<br />
Roger Shimomura, Kabuki Party, colored screen print, 1988<br />
Session Activity: Compare and contrast ethnicities as demonstrated in Shimomura’s<br />
prints. Questions about the messages Shimomura presents in his works will be provided<br />
as well as images <strong>of</strong> Shimomura’s prints.<br />
Grade Level: High School<br />
Time Needed: About an hour<br />
Objectives:<br />
1. To have students recognize important underlying concepts apparent in many <strong>of</strong><br />
Roger Shimomura’s artworks, particularly messages about discrimination.<br />
2. To have students appreciate their own ethnic backgrounds.<br />
Materials:<br />
Markers, colored pencils, pencils, and crayons<br />
Construction paper<br />
Collage Materials<br />
Vocabulary:<br />
1. Discrimination- Treatment or consideration based on class or category rather<br />
than individual merit; partiality or prejudice<br />
2. Tolerance- The capacity for or the practice <strong>of</strong> recognizing and respecting the<br />
beliefs or practices <strong>of</strong> others<br />
Activity Procedures:<br />
1. Students will view a selection <strong>of</strong> Shimomura’s works: Kabuki Party; Fox and<br />
Banzai; Classmates; West Seattle Shotgun.<br />
2. Describe the racial discrimination Shimomura presents in his works and who is<br />
being discriminated against.<br />
47
Fall 2009<br />
Lesson plan<br />
3. Students should pay close attention to the art elements in Shimomura’s workscolor,<br />
line, shape, texture, and value (lights and darks). What seems to be the<br />
most prominent element in his works?<br />
4. A. What is the purpose <strong>of</strong> Shimomura’s presentation <strong>of</strong> Asian subjects?<br />
B. What is the controversy he hopes viewers will explore and discuss?<br />
C. What emotions does Shimomura make you think <strong>of</strong> through his use <strong>of</strong><br />
materials, elements, and principles?<br />
D. Describe the social/cultural context from which his work came.<br />
5. Each student will receive collage materials in order to put together a piece <strong>of</strong><br />
work <strong>of</strong> his/her own that compares and contrasts his/her personal culture and<br />
background with another’s heritage and background. In order to choose a<br />
different culture to compare and contrast, each student will choose a partner and<br />
discuss the different backgrounds.<br />
6. After completing the assignment each student will be encouraged to present<br />
his/her art work to the class.<br />
7. Encourage a class discussion to promote acceptance <strong>of</strong> all cultural backgrounds.<br />
Evaluation: Did the student…<br />
1. Understand the meaning behind Shimomura’s prints?<br />
2. Create an art piece that compares two different cultures?<br />
3. Understand the meaning <strong>of</strong> tolerance <strong>of</strong> other people’s backgrounds?<br />
Background information:<br />
Roger Shimomura, Fox and<br />
Banzai, acrylic on canvas,<br />
2003<br />
Roger Shimomura was born in Seattle's Central<br />
District on 6/26/1939. He spent the first few years <strong>of</strong> his life<br />
interned with his family at the Puyallup State Fairgrounds<br />
while camps were being built by the U.S. These internment<br />
camps were designed by President Roosevelt during World<br />
War II to isolate Japanese Americans from other Americans<br />
due to the war with Japan. The<br />
purpose was to protect Americans<br />
from any harm within the U.S.<br />
borders. The practice <strong>of</strong> separating<br />
Japanese Americans was<br />
subsequently criticized and condemned. Soon he and his family<br />
transferred to Camp Minidoka in southern Idaho.<br />
Roger Shimomura, West<br />
Seattle Shotgun, acrylic on<br />
canvas, 2003<br />
48
Fall 2009<br />
Lesson plan<br />
After the war ended, Shimomura’s family was permitted to return to Seattle,<br />
where he developed his interest in art. He served two years as an artillery <strong>of</strong>ficer in<br />
Korea, then moved to New York where he worked as a graphic designer. In 1969, he<br />
received an M.F.A. in painting from Syracuse University. Shimomura's bold, illustrationlike<br />
artwork deals with Asian stereotypes and prejudices, and <strong>of</strong>ten references his family<br />
history. Shimomura wrote 35 performance pieces, and his paintings are in the<br />
permanent collections <strong>of</strong> the National <strong>Museum</strong> <strong>of</strong> American Art, Nelson-Atkins <strong>Museum</strong><br />
<strong>of</strong> Art, and Micros<strong>of</strong>t.<br />
Roger Shimomura, Classmate (Number 1), acrylic on canvas, 2003<br />
49
Fall 2009<br />
HELPFUL INFORMATION<br />
51
Fall 2009<br />
Glossary<br />
Artist’s Pro<strong>of</strong><br />
Baren<br />
Bath<br />
Bleeding<br />
Burin<br />
Calligraphy<br />
Collagraph<br />
Counterpro<strong>of</strong><br />
Drypoint<br />
Edition<br />
Etching<br />
Impression<br />
Intaglio<br />
Installation Art<br />
One <strong>of</strong> a small set <strong>of</strong> prints set aside from the edition for the artist’s use.<br />
Also known as an épreuve d’artiste.<br />
Japanese tool used for applying pressure in the printing <strong>of</strong> woodcuts. It is<br />
made <strong>of</strong> a flat spiral piece <strong>of</strong> wood or bamboo about 5 inches in diameter<br />
and a backing disk.<br />
The mixture <strong>of</strong> acid and water in which intaglio plates are etched.<br />
Ink seepage or oozing around a printed Image, caused by excessive use <strong>of</strong><br />
ink, pressure or oil.<br />
A steel cutting tool with a sharp beveled point, used in engraving metal<br />
plates or carving stone. Also called graver.<br />
A refined type <strong>of</strong> handwriting characterized by elegant, curved script. In<br />
Japanese culture, calligraphy is a traditional method <strong>of</strong> writing, <strong>of</strong>ten done<br />
with a brush and ink.<br />
The Collagraph print is best described as a collage printmaking technique,<br />
where the image is composed from a variety <strong>of</strong> textured materials glued to<br />
a substrate and printed either in an intaglio or relief fashion.<br />
Printed image identical to the image on the block or plate and made by<br />
taking an impression <strong>of</strong> a wet pro<strong>of</strong>.<br />
The graphic process in which lines are scratched into the metal plates with<br />
a sharp tool, rather than with acid.<br />
In printmaking, all the copies <strong>of</strong> a print published at the same time or as<br />
part <strong>of</strong> the same publishing event. An edition can include several different<br />
versions or several exact copies <strong>of</strong> one image, and can be as small as two<br />
prints or as large as hundreds <strong>of</strong> prints.<br />
The graphic printmaking process which uses acids to create incised areas<br />
on a metal plate.<br />
The image printed from a stone, plate, woodblock, or any other matrix.<br />
Printing from the grooves or crevices engraved, scraped or etched into the<br />
plate.<br />
The use <strong>of</strong> three-dimensional materials to create a work <strong>of</strong> art that<br />
surrounds the viewer and creates its own environment in a gallery,<br />
museum, or other public space.<br />
52
Fall 2009<br />
Glossary<br />
Key Plate<br />
Kimono and obi<br />
Lithography<br />
<strong>Matrix</strong><br />
Monoprint<br />
Plate Mark<br />
Pro<strong>of</strong><br />
Rainbow Roll<br />
Relief<br />
Rubbing<br />
Serigraph<br />
Stipple Print<br />
Washout<br />
Woodcut<br />
Zincography<br />
The plate or block used to serve as a guide to register, or to line up, other<br />
plates or blocks when printing each color layer <strong>of</strong> a color print.<br />
In Japanese culture, the kimono is a long-sleeved, ankle-length robe worn<br />
by Japanese women and tied with a belt over an obi sash. The kimono has<br />
a tradition dating back more than 1,000 years and is usually decorated with<br />
motifs such as flowers and birds.<br />
The process <strong>of</strong> printing from drawings made with special crayons on stone<br />
or on metal sheets, using the water-repellent properties <strong>of</strong> the crayons and<br />
the greasy inks as a basic principle.<br />
In printmaking, the physical object upon which a design has been formed<br />
and which is then used to create a print, such as a zinc plate or limestone<br />
block.<br />
A method <strong>of</strong> printmaking which produces a work that cannot be exactly<br />
reproduced. Monoprinting can sometimes produce similar images, but can<br />
never produce multiples, or exact copies. Because <strong>of</strong> this inability to directly<br />
copy an image, monoprinting is <strong>of</strong>ten called the most “painterly” printmaking<br />
technique.<br />
The impression left in the paper by the pressure <strong>of</strong> the plate edges.<br />
A preliminary impression pulled for examination <strong>of</strong> various stages until final<br />
state is reached.<br />
Specialized technique in which a plate or stone is inked with strips <strong>of</strong><br />
several different colors at once. They are blended at the edges to produce<br />
a rainbow like effect.<br />
The raised surface which is the source <strong>of</strong> the image in relief process.<br />
The process <strong>of</strong> pulling a print from a bas-relief sculpture. The paper is<br />
placed against the clear sculpted surface and its back is rubbed with a flatedged<br />
crayon or pencil. The image appears un-reversed on the paper.<br />
The graphic process involving a stencil. The silkscreen process is referred<br />
to as serigraphic printing.<br />
To create a half-tone effect by engraving and etching little dots into the<br />
plate.<br />
In lithography, the process <strong>of</strong> removing the greasy drawing material from<br />
the completed image on stone or plate.<br />
Relief printing, the areas to appear in ink on the paper prints are those<br />
which are left in relief on the surface, in contrast to the cut-away areas.<br />
19 th -century term for lithography on zinc plates.<br />
53
FALL 2009<br />
IMAGE LIST:<br />
MUSEUM OF FINE ARTS EXHIBIT<br />
Lynne Allen, Moccasin<br />
#2, 2000. Etching on<br />
handmade paper, linen<br />
thread, and handwork,<br />
approx. 4 x 8 x 3”, in the<br />
collection <strong>of</strong> the Victoria<br />
& Albert <strong>Museum</strong>,<br />
London.<br />
Mark Hosford, The<br />
Hidden Pieces from<br />
Silhouette Series, 2008.<br />
Screenprint.<br />
Denise Bookwalter,<br />
Luftschiff, 2008. Print.<br />
Kabuya Bowens, The<br />
Blackburn Suite:<br />
Blackburn Wing Figures,<br />
2007. Relief collagraph<br />
and mixed media, 7’ x<br />
31”.<br />
Roger Shimomura,<br />
Mistaken Identities:<br />
For Tokio Ueyama,<br />
2005. Color lithograph,<br />
10.5 x 9”.<br />
.<br />
Tanja S<strong>of</strong>tic,<br />
Navigable Space,<br />
2005. Etching,<br />
mezzotint,<br />
drypoint, 15 x<br />
48”.<br />
Tim Dooley, Mixed<br />
Product, 2005. Mixed<br />
media installation,<br />
variable dimensions.<br />
Cynthia Lollis,<br />
collaboration<br />
with Daniela<br />
Deeg, Viel Cloük,<br />
2007. Silkscreen<br />
artists’ book.<br />
54
FALL 2009<br />
IMAGE LIST:<br />
HISTORICAL PRINTS<br />
Albrecht Dürer,<br />
Rhinoceros, 1515.<br />
Etching, approx. 8 ¼<br />
x 11 5/8”.<br />
Henri de Toulouse‐<br />
Lautrec, May Milton,<br />
1895. Color lithograph,<br />
31.3 x 24.1”.<br />
Hokusai, Great<br />
Wave <strong>of</strong>f<br />
Kanagawa, 1830‐<br />
32. Woodblock<br />
print, approx. 10<br />
1/8 x 14 15/16”.<br />
Mary Cassatt,<br />
The Bath, 1891.<br />
Drypoint and<br />
aquatint, 12 5/8<br />
x 9 13/16”.<br />
Francisco Goya, The<br />
Sleep <strong>of</strong> Reason<br />
Produces Monsters,<br />
plate 43 from Los<br />
Caprichos, 1797‐98.<br />
Aquatint and etching,<br />
7 1/16 x 4 ¾”.<br />
Yoshida Hiroshi,<br />
Night Scene After the<br />
Rain, 1925.<br />
Woodblock print, 16<br />
x 10 ¾”.<br />
Andy Warhol,<br />
Turquoise<br />
Marilyn, 1962.<br />
Silkscreen, 82 x<br />
57”.<br />
Rembrandt,<br />
Landscape, 1640.<br />
Etching, 8 3/8 in. x<br />
11”.<br />
55
Fall 2009<br />
Sources<br />
Allen, Lynne. .<br />
Bibliography:<br />
Bookwalter, Denise. .<br />
Dooley, Tim. Mixed Product. .<br />
Heller, Jules. <strong>Printmaking</strong> Today, A Studio Handbook. 2nd ed. New York: Holt, Rinehart<br />
and Winston, Inc., 1972.<br />
Hosford, Mark. The Art <strong>of</strong> Mark Hosford. .<br />
JapaneseKimono.com. “Japanese Kimono, Kimono Fabric, and Japanese Clothing.”<br />
< http://www.japanesekimono.com/index.htm>.<br />
Kent, Cyril, and Mary Cooper. Simple <strong>Printmaking</strong>: Relief and Collage Printing, Screen<br />
Printing. New York: Watson-Guptill Publications, 1966.<br />
Monoprints.com. “What is a Monoprint?” .<br />
Mulder-Slater, Andrea. "<strong>Printmaking</strong> 101." KinderArt. 16 Sept. 2008<br />
.<br />
Peterdi, Gabor. <strong>Printmaking</strong> Methods Old and New. 1st ed. New York: The Macmillan<br />
Company.<br />
Philadelphia Print Shop, The. “Dictionary <strong>of</strong> <strong>Printmaking</strong> Terms.”<br />
< http://www.philaprintshop.com/diction.html#I>.<br />
56
Fall 2009<br />
Sources<br />
Saff, Donald, and Deli Sacilotto. <strong>Printmaking</strong> : History and Process. New York: Holt,<br />
Rinehart & Winston, 1978.<br />
Shimomura, Roger. .<br />
Zaidenberg, Arthur. Prints and How to Make Them: Graphic <strong>Arts</strong> for the Beginner. 1st<br />
ed. New York: Harper & Row, 1964.<br />
57
Fall 2009<br />
Sources<br />
Images:<br />
http://www.liquidknowledge.info/HOKUSAI1.htm<br />
http://www.art.com/asp/display_artist-asp/_/crid--23653/Albrecht_Drer.htm<br />
http://www.masterworksfineart.com/inventory/toulouse<br />
http://www.moma.org/images/collection/FullSizes/80503002.jpg<br />
http://www.kaymariecoin.com/index.php?main_page=product_info&products_id=1202<br />
http://internetshakespeare.uvic.ca/Library/SLT/literature/press1.html<br />
http://www.anubisappraisal.com/aboutus.html<br />
http://www.davidrumsey.com/amico/amico4101609-38743.html<br />
http://upload.wikimedia.org/wikipedia/commons/8/81/Rembrandt_The_Three_Crosses_1653.jpg<br />
http://www.metmuseum.org/toah/images/h2/h2_29.107.31.jpg<br />
http://www.peaceloveandhappiness.org/rembrandt-self-portrait.jpg<br />
http://www.artlex.com/ArtLex/e/images/etching_goya.sleepr.lg.jpg<br />
http://www.wfu.edu/art/pc/images/pc-goya-volaverunt.jpg<br />
http://www.cksinfo.com/clipart/people/famouspeople/painters/Goya-self-portrait.png<br />
http://imagecache2.allposters.com/images/pic/AWI/NR833~Self-Portrait-in-Orange-Posters.jpg<br />
http://academics.adelphi.edu/honcol/modconart/img/Warhol-campbellsoup.jpg<br />
http://www.artquotes.net/masters/warhol_andy/turquoise-marilyn-62.jpg<br />
http://upload.wikimedia.org/wikipedia/commons/1/18/Durer_self_portarit_28.jpg<br />
http://www.wfu.edu/art/pc/images/pc-durer-melencolia.jpg<br />
http://www.chowdernation.com/images/Durer.jpg<br />
http://michiao.wordpress.com/2008/08/17/%e6%ba%ab%e7%bf%92%e6%ba%ab%e7%98%8b<br />
%e4%ba%86/<br />
http://www.popartuk.com/art/katsushika-hokusai/mount-fuji-in-clear-weather-red-fuji-1837-<br />
ap788-poster.asp<br />
58
Fall 2009<br />
Sources<br />
http://commons.wikimedia.org/wiki/Image:Hokusai_portrait.jpg<br />
http://upload.wikimedia.org/wikipedia/commons/7/7f/Meckenem.jpg<br />
http://www.uh.edu/engines/durer1.gif<br />
http://etc.usf.edu/clipart/4200/4255/printing-press_1.htm<br />
http://www.unm.edu/~tamarind/editions/cole_img.html<br />
http://www.millerblockgallery.com/artists/Imi_Hwangbo.shtml<br />
http://www.lacma.org/art/InstallMatisse.aspx<br />
Images are for educational uses only<br />
59