Folgen
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In this episode Platemark, I talk with Leslie Diuguid, owner and founder of Do-Good Press in Bed-Stuy, Brooklyn. Leslie shares her journey as a screenprinter and discusses the intricacies of screenprinting, including processes, challenges, and the nuances of halftone and moiré patterns. We talk about how much math comes into the enterprise, especially about the relationship of mesh counts of screens and the frequency modulation of dot patterns. We explore Leslie's deep connection with her community, her unique approach to remembering names by sketching neighborhood visitors, and her experiences moving from a bedroom workshop to a storefront space. Leslie also details various projects, such as printing on glass, working with unique materials, and producing one-off prints in collaboration with artists like Selena Kimball and Rose Salane. We touch on the importance of sharing knowledge, community engagement, and the future of printmaking. This enriching conversation highlights Leslie's passion for her craft and her innovative contributions to the printmaking world.
https://du-goodpress.com/
IG @dugoodpress
IG @little_mouse_diuguid
Article in Bomb Magazine about Selena Kimball: https://bombmagazine.org/articles/2023/09/20/selena-kimball-interviewed/
Leslie's Omaha show: https://www.u-ca.org/exhibition/meet-me-at-the-fence-ok-bye
Nyssa Chow information: https://www.tellinghistories.com/trace
Du-Good Press published Simon Benjamin's Crown and Anchor, which was acquired by the Perez Art Museum: https://www.instagram.com/p/DDNPhswRslT/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA%3D%3D
Platemark website
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Support the show
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Leslie Diuguid priming canvas with open mesh at Du-Good Press, Brooklyn, NY.
One-off set up for artist Simon Benjamin at Du-Good Press, Brooklyn, NY.
Shepard Fairey. Tribal Anniversary, 2024. Screenprint. 24 x 18 in. Signari Gallery, Temecula, CA.
Selena Kimball standing on screenprinting table getting ready to work with Andrea “Nina” Knoll in the background.
Selena Kimball inspecting work in progress.
Andrea “Nina” Knoll pouring ink as Selena Kimball holds the squeegee and prepares to print.
Selena Kimball with Leslie Diuguid pointing out details in Selena's work in progress.
Installation shot of Leslie Diuguid’s exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). Eduardo, Chanel, and Jessica, 2024. Screenprints on canvas (12 x 12 in. each) installed in Leslie Diuguid’s exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist.
Installation shot of Leslie Diuguid’s exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). 12,528, 2024. Screenprint on canvas. 30 x 40 in. Courtesy of the Artist.
Installation shot of Leslie Diuguid’s exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). These Are Leslie’s Hands, 2024. Screenprint on canvas. 30 x 40 in. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). Screamie, 2024. Screenprint. 30 x 40 in. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). Emily, 2024. Screenprint. 30 x 40 in. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). 942-0733, 2024. Screenprint. 30 x 40 in. Courtesy of the Artist.
Rose Salane. 64,000 Attempts at Circulation, 2022. Five screenprints, counterfeit metal coins, and steel tables. Overall: 106 13/16 × 232 × 131 in. Whitney Museum of American Art, New York.
Tiona Nekkia McClodden. Black Insanity on the Ledge of a Death Star, 2022. 2-color screenprint. 18 x 24 in. Printed by Du-Good Press; published by 52 Walker.
Alake Schilling (American, born 1993). Spotty Dotty Dog House, 2023. Color screenprint. 16 x 16 in. Published by Printed Matter; printed by Du-Good Press, Brooklyn. Printed Matter
Char Jeré. The Periodic Table of Black Revolutionaries, 2021. 10-color screenprint. 18 x 24 in. Printed and published by Du-Good Press, Brooklyn.
Kai Jenrette (American, born 2001). I’m Perfect Life’s Perfect I Love Being Me, 2024. 2-color screenprinted zine. Unfolded: 16 x 20 in. Printed and published by Du-Good Press, Brooklyn. -
In this episode of Platemark, I interview Cole Rogers, a master printmaker who recently co-founded C&C Editions after his long tenure at Highpoint Center for Printmaking in Minneapolis. Cole talks about his journey into printmaking, his approach to the creative process, and the importance of experimental collaboration with artists. We talk about the mission-driven establishment of Highpoint Center, which he co-founded with Carla McGrath, and which aims to support all stages of an artist's career. We talk about the transition to C&C Editions and establishing a new shop and publishing program. We cover a range of topics from the technical aspects of printmaking to the broader art ecosystem, emphasizing the importance of creativity and exploration in the art world.
Episode photo by Joseph D.R. O’Leary
Mungo Thompson (American, born 1969). Pocket Universe (Copper) #16, 2016. Copper blind embossment. 24 x 20 in. Printed and published by Highpoint Center for Printmaking, Minneapolis.
Willie Cole (American, born 1955). Five Beauties, 2012. Five intaglio and relief prints. Each: 63 ½ x 22 ½ in. Printed and published by Highpoint Center for Printmaking, Minneapolis.
Julie Mehretu (American, born Ethiopia, 1970). Entropia: Construction, 2005. Lithograph with Gampi chine collé. Image: 29 ½ x 39 ½ in.; sheet: 40 x 49 ½ in. Printed and published by Highpoint Center for Printmaking, Minneapolis.
Mungo Thompson (American, born 1969). Between Projects, 2011. Handmade pencils. Site-specific installation at Walker Art Center, Minneapolis.
Mungo Thompson (American, born 1969). Coat Check Chimes, 2008. Nickel-plated aluminum and steel, 1200 pieces. Site-specific installation at the 2008 Whitney Biennial, New York. Photo: Joanne Kim.
James Turrell (American, born 1943). Dividing the Light, 2007. Granite and steel. Pomona College, Claremont, CA.
Studio shot, C&C Editions, Minneapolis.USEFUL LINKS
www.candceditions.com
IG @candceditions
IG @cole.rogers.5836
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Fehlende Folgen?
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In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art. We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society’s faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment.
Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.
Useful Links
Harlot’s Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ
Harlot’s Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF
Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY
After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection.
Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris.
Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris.
Inigo Jones (British, 1573–1652). Banqueting House, 1622. London.
William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Series of 8 paintings. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London.
After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master’s Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis.
George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis.
George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis.
William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London. -
In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith’s passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works.
Cover image: Grace Graupe-Pillard
USEFUL LINKS
https://www.millinersguild.org/
https://www.soloimpression.com/
@judithsolodkin
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June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx.
Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx.
James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press.
Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C.
Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx.
Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx.
Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx.
Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx.
Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in.
Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE.
Judith Solodkin in one of her own creations.
Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY.
Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY.
Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression.
Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx.
Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx.
Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression.
Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore.
Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½ in. Printed and published by SOLO Impression, Bronx.
Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra.
Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx.
Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression.
Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression.
Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression.
Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx.
John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx.
John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx.
Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression.
Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx.
Beryl Korot. Weaver’s Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx.
Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023.
Louise Bourgeois (American, born France, 1911–2010). Henriette, 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY. -
In this History of Western Prints (HoP) episode, Tru and I begin to explore the life and work of William Hogarth, the first British artist featured on Platemark’s HoP series. Hogarth, renowned as the father of Western sequential art, is discussed through detailed analyses of three of his best known series: A Harlot's Progress, A Rake's Progress, and Marriage A-la-Mode. The episode delves into 18th-century London's morality, capturing the societal and artistic context of Hogarth's work. Highlights include discussions on the intricacies of Hogarth's prints, his depiction of social issues, the impact of his work on English law (copyright laws finally established!), and his mixed successes in various art forms. This first of two episodes on Hogarth sets the stage for part two when we look at his images around elections in Enlightenment England.
Harlot’s Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ
Harlot’s Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF
Beer Street and Gin Lane video from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY
Platemark website
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Support the show
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After Anton von Maron (Austrian, 1733–1808). Johann Winkelmann, after 1768. Engraving.
After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection.
William Hogarth (British, 1697–1764). The Painter and his Pug, 1745. Oil on canvas. 35.4 x 27.5 cm. Tate Britain, London.
Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 × 38.5 cm. (19.5 in × 15.2 in.). Louvre, Paris.
Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. Louvre, Paris.
The Banqueting House, London.
Saint Paul’s Church, London.
William Hogarth (British, 1697–1764). Self-Portrait, c. 1735. Oil on canvas. 21 1/2 x 20 in. (54.6 x 50.8 cm.). Yale Center for British Art, New Haven.
William Hogarth (British, 1697–1764). An Emblematic Print on the South Sea, late 18th century. Engraving and Etching. Plate: 10 13/16 x 13 3/8 in. (27.4 x 33.9 cm.); sheet: 11 5/16 x 14 in. (28.7 x 35.6 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 1, 1732 or before. Etching and engraving. Sheet: 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York.
Chart identifying elements in Harlot’s Progress Plate 1.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 2, 1732 or before. Etching and engraving. Sheet: 12 3/8 x 14 13/16 in. (31.4 x 37.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 3, 1732 or before. Etching and engraving. Sheet: 12 11/16 x 15 3/8 in. (32.2 x 39 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 4, 1732 or before. Etching and engraving. Sheet: 13 1/8 x 15 3/16 in. (33.3 x 40.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 5, 1732 or before. Etching and engraving. Sheet: 13 3/8 x 16 3/16 in. (34 x 41.1 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 6, 1732 or before. Etching and engraving. Sheet: 12 1/2 x 15 3/16 in. (31.7 x 38.6 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 1, 1735. Etching and engraving. Sheet: 15 13/16 x 19 1/16 in. (40.2 x 48.4 cm.). Metropolitan Museum of Art, New York.
Gérard Jean-Baptiste Scotin (French, Paris 1698–after 1755), after William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 2, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36 x 41.3 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 3, 1735. Etching and engraving. Sheet: 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 4, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36.1 x 41.3 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 5, 1735. Etching and engraving. Sheet: 15 5/8 x 18 13/16 in. (39.7 x 47.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 6, 1735. Etching and engraving. Sheet: 14 x 16 in. (35.5 x 40.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 7, 1735. Etching and engraving. Sheet: 15 5/8 x 18 3/4 in. (39.7 x 47.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 8, 1735. Etching and engraving. Sheet: 15 9/16 x 18 13/16 in. (39.6 x 47.8 cm). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Eight oil on canvas paintings. Sir John Soane’s Museum, London.
Louis-François Roubiliac (French, 1702–1762). William Hogarth, c. 1741. Terracotta bust. Overall: 28 1/2 x 17 3/4 in. (72.4 x 45.2 cm.). National Portrait Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 1, The Marriage Settlement, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 2, The Tête-à-Tête, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 3, The Inspection, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 4, The Toilette, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 5, The Bagnio, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 6, The Lady’s Death, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
Gérard Jean-Baptiste Scotin (French, 1698–after 1755), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 1, 1745. Etching and engraving. Sheet: 15 3/16 x 18 5/16 in. (38.5 x 46.5 cm.). Metropolitan Museum of Art, New York.
Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 2, 1745. Etching and engraving. Sheet: 15 1/16 x 18 1/4 in. (38.3 x 46.3 cm.). Metropolitan Museum of Art, New York.
Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 3, 1745. Etching and engraving. Plate: 15 3/8 x 18 1/2 in. (39 x 47 cm.). Metropolitan Museum of Art, New York.
Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 4, 1745. Etching and engraving. Plate: 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York.
Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 5, 1745. Etching and engraving. Plate: 15 1/4 x 18 7/16 in. (38.8 x 46.9 cm.). Metropolitan Museum of Art, New York.
Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 6, 1745. Engraving. Plate: 15 3/16 x 18 3/8 in. (38.6 x 46.7 cm). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. -
In s3e67 of Platemark, I talk with Amy Namowitz Worthen, a distinguished engraver and curator, about her lifelong journey in printmaking. Influenced early by her artist mother, she pursued art education at Smith College and the University of Iowa, honing her artistic skills under Leonard Baskin and Mauricio Lasansky. Amy's career is marked by multi-faceted contributions to printmaking, including prestigious curatorial positions at Des Moines Art Center, along with helping to establish its Print Club. Her work bridges historical and contemporary practices, with publications and collaborations spanning across the globe, notably in Venice. Personal experiences, including significant tragedies, deeply influenced her art, shaping unique series and projects. Amy's legacy is celebrated through her continued involvement in the art community and her influential prints, which are showcased and valued internationally.
Useful links
FB https://www.facebook.com/amy.worthen
IG @amynamowitzworthen
Link to Hayter film: https://www.youtube.com/watch?v=wUIM9ZiMqzw
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Leonard Baskin (American, 1922–2000). Man of Peace, 1952. Woodcut. Image: 59 5/8 x 30 7/8 in. (151.5 x 78.5 cm.). Metropolitan Museum of Art, New York.
Amy N. Worthen at the Scuola Internazionale de Grafica di Venezia, 1989. Courtesy of the Artist.
View from Amy N. Worthen’s Venice apartment. Courtesy of the Artist.
Amy N. Worthen (American, born 1946). My Wisteria 25, 2023. India ink on Seichosen Tosa Kozo paper. 55 x 29 ½ in. Olson Larsen Gallery, Des Moines.
Amy N. Worthen (American, born 1946). My Wisteria, Venice: Summer Shadows and Sunlight. View from my terrace looking towards Palazzo Zane Collalto, Ponte sant’Agostin, and Palazzo Morosini degli Spezieri (W. japonica floribunda macrobotrys), 2022/2023. India ink on Seichosen Tosa Kozo paper. 55 x 29 ½ in. Olson Larsen Gallery, Des Moines.
Amy N. Worthen (American, born 1946). My Wisteria,Venice: Last year’s seed pods, budding and flowering racemes, a falling blossom, terrace view towards Ponte sant’Agostin (W. japonica floribunda macrobotrys), 2023. India ink and watercolor. 30 x 22 in. Olson Larsen Gallery, Des Moines.
Jacques Bellange (French, c. 1575–1616). Pietà, 1615. Etching with stippling and engraving. Sheet (trimmed): 12 3/16 × 7 13/16 in. (31 × 19.8 cm). Metropolitan Museum of Art, New York.
Giorgio Morandi (Italian, 1890–1964). Natura morta a grandi segni, 1931. Etching. Plate: 9 5/8 x 12 1/2 in. (24.4 x 31.8 cm.); sheet: 15 1/8 x 20 in. (38.4 x 50.8 cm.). Metropolitan Museum of Art, New York.
Amy N. Worthen (American, born 1946). Strumenti d’Incisione (Engraving Tools), 1995. Engraving, roulette, and mezzotint. Plate: 7 3/8 x 6 in. (18.9 x 15.6 cm.). Courtesy of the Artist.
Amy N. Worthen in her home studio, Des Moines. Courtesy of the Artist.
Amy N. Worthen (American, born 1946). The Law Library, from the series Real and Imagined Aspects of the Iowa State Capitol, 1977. Etching. Plate: 17 ½ x 14 ½ in. (44.5 x 36.8 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Terrace Hill with Peacock, 2008. Engraving. Plate: 13 7/8 x 16 ½ in. (35 x 42 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Sotoportego Pisano, from the series Sotoporteghi Veneziani, 1994. Engraving. 9 x 7 7/8 in. (22.7 x 20 cm.). Olson Larsen Gallery, Des Moines.
Antonio del Pollaiuolo (Italian, 1431/32–1498). Battle of the Nudes, 1470s–80s. Engraving. Sheet: 42.4 x 60.9 cm. (16 11/16 x 24 in.); plate: 42 x 60.4 cm. (16 9/16 x 23 3/4 in.). The Cleveland Museum of Art.
Amy N. Worthen (American, born 1946). House in Ruins, 1986. Engraving. Plate: 16 ¾ x 13 7/8 in. (42.5 x 35.3 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). House of Emblems, 1988. Engraving, roulette, and mezzotint. Plate: 24 x 18 in. (61 x 45.7 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Vanitas, 1987. Engraving. Plate: 14 ¾ x 11 7/8 in. (37 x 30.4 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). A Sphinx Fountain, 1971. Engraving. Plate: 14 1/8 x 12 ½ in. (36 x 31.7 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Melancolia II, 1973. Engraving. Plate: 8 1/8 x 14 7/8 in. (20.5 x 38 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). The Supreme Court, from the series Real and Imagined Aspects of the Iowa State Capitol, 1977. Engraving and etching. Plate: 13 7/8 x 16 ¾ in. (35.2 x 42.5 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). An Iowa Valentine, 1990. Engraving with hand coloring. Plate: 6 7/8 x 5 in. (17.5 x 12.7 cm.). Olson Larsen Gallery, Des Moines.
Amy N. Worthen (American, born 1946). Iowa Alphabet, 1990. 25 engravings with watercolor. Overall: 19 7/8 x 15 in. (50.1 x 38.1 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Iowa Alphabet: VOTE, 2020. Engraving printed in blue. Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Iowa Alphabet: VOTE, 2020. Engraving printed in blue with watercolor. Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Billboard with Iowa Alphabet: VOTE, 2020. Courtesy of the Artist.
Get-Out-The-Vote postcards featuring Amy N. Worthen’s Iowa Alphabet: VOTE, 2020. Courtesy of the Artist.
Amy N. Worthen speaks in front of her Wisteria drawings at Olson Larsen Gallery, Des Moines, 2023. Courtesy of the Artist. -
In s3e66 of Platemark, host Ann Shafer talks with Jennifer Roberts, an art historian and professor at Harvard, about her latest book, Contact: Art and the Pull of Print, which explores the intersection of intellectual and technical richness in print. Jennifer's book offers a fresh perspective on printmaking, synthesizing simple maneuvers like reversal and pressure to account for the medium's expansive influence. Based on her acclaimed Mellon Lectures delivered during the pandemic, the book is both conversational and accessible, aiming to engage a wide audience beyond the traditional confines of print expertise.
They also talk about Jennifer's journey into the world of print, which began during her research into the movement and dissemination of images within the Anglo-American world during the 18th and 19th centuries. Initially focused on the path of oil paintings, she inadvertently found herself immersed in the world of prints, specifically currency engraving—an intricate craft demanding the production of unreplicable reproductive objects to combat counterfeiting.
Jennifer shares insights from her 20+ years of teaching where she emphasizes long looking at objects (3 hours!) and integrates studio and theoretical learning. Additionally, Jennifer discusses an exciting collaboration with artist Dario Robleto. Their joint work delves into the fascinating realm of printed sound, specifically examining the Golden Record—a phonographic record sent into space on the Voyager probes. This project exemplifies Jennifer's penchant for exploring the intersections of materiality, meaning, and communication within both earthly and cosmic contexts, as well as the intersections of art, science, and the evolution of visual culture.
Cover photo: Sharona Jacobs.
USEFUL LINKS
Bio https://haa.fas.harvard.edu/people/jennifer-roberts
IG @jenniferrrrrroberts
Jennifer Roberts’s books and lectures
Contact: Art and the Pull of Print, 2024
https://press.princeton.edu/books/paperback/9780691255859/contact-art-and-the-pull-of-print?srsltid=AfmBOoq_6iSOwrkK9suakEqQRn7TWwBvOj4zyh0Gf3zLcw4gvTpA2uC3Mellon Lectures, National Gallery of Art
https://www.nga.gov/research/casva/meetings/mellon-lectures-in-the-fine-arts/roberts-2021.htmlTransporting Visions: The Movement of Images in Early America, 2014
https://www.ucpress.edu/books/transporting-visions/hardcoverJasper Johns/In Press: The Crosshatch Works and the Logic of Print, 2012
https://shop.harvardartmuseums.org/products/jasper-johns-in-press-the-crosshatch-works-and-the-logic-of-printThe Metamorphic Press: Jasper Johns and the Monotype, 2017
https://www.academia.edu/35947545/The_Metamorphic_Press_Jasper_Johns_and_the_Monotype_2017_Platemark website
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We're replaying a past bonus episode in which History of Prints SME Tru and Platemark host Ann talk about their art origins. They come from pretty different backgrounds, but they are in complete alignment about art, art history, prints, and print history. So, listen in as they talk about how they got to where they are.
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In this episode, go behind the scenes at the museum with Alison Luxner, a paper conservator at the Museum of Fine Arts in Boston. Alison shares her journey to becoming a conservator, the lengthy education and training process, and her diverse experiences working in various conservation roles. They also delve into the specifics of handling and conserving works on paper, the pros and cons of using gloves, and share some adventures in couriering artwork all over the world. Furthermore, they discuss different career paths within the field. Ann and Alison's conversation underscores the complexities of art conservation and the passion required to excel in this meticulous profession.
Paper Conservator Alison Luxner treating a large Jules Cheret poster, La Loïe Fuller, 1893. Museum of Fine Arts, Boston.
Paper Conservator Alison Luxner treating a group of hand-colored linoleum cuts by Allan Rohan Crite. Museum of Fine Arts, Boston.
Paper Conservator Alison Luxner treating a wood engraving by Edwin Holgate, Nude by a Lake, c. 1932. Museum of Fine Arts, Boston.
Paper Conservator Alison Luxner looking closely with a microscope at Martin Schongauer’s engraving Temptation of Saint Anthony, 1470-74. Museum of Fine Arts, Boston.
Host Ann Shafer with Alison Luxner’s mother, Joan Kaskell, and Ann’s father, Don MacNary. -
In this History of Prints episode of Platemark, host Ann Shafer and subject matter expert Tru Ludwig explore the extraordinary life and legacy of Maria Sibylla Merian. Celebrated for her pioneering work on insect metamorphosis and her detailed illustrations of flora and fauna, Merian's journey took her to Suriname where she documented local species with the help of native people and slaves. Despite the societal constraints of the 17th century, she made significant contributions to both science and art, influencing future generations. The discussion also situates her achievements within the broader context of the Enlightenment and printmaking evolution, drawing comparisons with other naturalists like Audubon. The episode concludes with a teaser for an upcoming feature on William Hogarth, noted for his political satire.
George Peabody Library, Baltimore, MD.
Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust.
Maria Sibylla Merian (Dutch, 1647–1717) on the 500 Deutsche Mark.
Maria Sibylla Merian (Dutch, 1647–1717) on a German postage stamp.
Jacob Marrel (German, 1613–1681). Portrait of Maria Sibylla Merian, 1679. Oil on canvas. 59 x 50.5 cm. Kunstmuseum Basel.
[DETAIL] Joachim von Sandrart I (German, 1606–1688) and Philipp Kilian (German, 1628–1693). Detail of Portraits of Michel le Blond, Aegidius Sadeler, Georg Petele, Matthaus Merian, Renbrant a Rhen, Carol Screta, c. 1683. Engraving. Plate: 12 1/4 × 7 7/8 in. (31.1 × 20 cm.); sheet: 12 3/4 × 8 3/8 in. (32.4 × 21.3 cm.). Detroit Institute of Arts, Detroit.
Wenceslaus Hollar (Flemish, 1607–1677). Muff with a band of brocade, 1647. Etching. Plate: 11.3 x 8.3 cm. Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand.
Matthäus Merian (Swiss, 1593–1650). Todten-Tantz Wie derselbe in der Weitberümbten Statt Basel als ein Spiegel Menschlicher beschaffenheit gantz Künstlich mit Lebendigen Farben Gemahlet, nicht ohne nutzliche Verwunderung zusehen ist. Basel: Mieg, 1621. Thüringer Landesmuseum Heidecksburg.
Jacob Marrel (German, 1613–1681). Four Tulips: (Boterman, Joncker, Grote geplumaceerde, and Voorwint), c. 1635–45. Watercolor on vellum. 13 3/8 x 17 11/16 in. Metropolitan Museum of Art, New York.
Rachel Ruysch (Dutch, 1664–1750). Festoon with Flowers and Fruit, 1682. Oil on canvas. 38 x 33 cm. National Gallery of Prague.
Maria Sibylla Merian (Dutch, 1647–1717 ). Plate 5 from volume 1 of Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food). Germany: self-published, 1679.
Jan Goedaert (German, 1617–1668). Study for and engraving of metamorphosis of a moth.
Tru Ludwig (American, born 1959). Dumb Luck, 2009. Two-plate etching, printed à la poupée. Plate: 37 ½ x 27 in.; sheet (42 x 30 in.). Courtesy of the Artist.
Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian. Engraving with hand coloring, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word. Amsterdam: self-published, 1717.
Maria Sibylla Merian (Dutch, 1647–1717). Neues Blumenbuch. Nuremberg: self-published, 1680.
Maria Sibylla Merian (Dutch, 1647–1717). Blumenbuch. Nuremberg: Johann Andreas Graff, 1675.
Maria Sibylla Merian (Dutch, 1647–1717). Illustration of a Turk's cap lily (Lilium superbum) from Merian's New Book of Flowers, 1680.
Maria Sibylla Merian (Dutch, 1647–1717). Titlepage from Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food). Germany: self-published, 1679.
Jim Dine (American, born 1935). The Temple of Flora, 1984. San Francisco, Arion Press, 1984.
Maria Sibylla Merian (Dutch, 1647–1717). A Pineapple Surrounded by Cockroaches, c. 1701–05. Watercolor and gouache on vellum. British Museum, London.
Maria Sibylla Merian (Dutch, 1647–1717). Merian's 'forest rat' or opossum (Didelphimorphia) carrying her young. Detail from plate 66 of Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (frog) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly, 1702–03. Watercolor and gouache with gum arabic over lightly etched outlines on vellum. 43.5 x 28.8 cm. Royal Collection Trust, London.Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly, from the book, Metamorphosis Insectorum Surinamensis. Amsterdam: Johannes Oosterwyk, 1718.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (praying mantes) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (snake) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
[DETAIL] Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (croc eating snake) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (pineapple and cockroaches) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Watercolor study of Toucan for Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (black tegu) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian. Engraving, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word. Amsterdam: self-published, 1717.
Thomas Bewick (British, 1753–1828). Title page from History of British Birds. Newcastle: Beilby & Bewick, 1797.
Thomas Bewick (British, 1753–1828). Title page from The Supplement to the History of British Birds. London: Longman and Co., 1821.
Dr. Robert Thorton (British). Flowering Cereus from The Temple of Flora, 1807. Color mezzotint. London: self-published, 1812.
John James Audobon (French-American, 1785–1851). Flamingo fron The Birds of America. London: self-published, 1827–38.
John James Audobon (French-American, 1785–1851). Carolina Parakeets from The Birds of America. London: self-published, 1827–38.
John James Audobon (French-American, 1785–1851). Hawks eating dinner from The Birds of America. London: self-published, 1827–38. -
In this episode of Platemark, host Ann Shafer talks with renowned printmaker Jenny Robinson who recently opened up her eponymous print shop in Sydney, Australia.
Jenny shares her experiences moving from America to Slovenia during the Trump era, integrating into Slovenia's printmaking community, and ultimately relocating to Sydney, Australia, to establish her print atelier. We talk about the challenges of getting different materials and the cultural contrasts in the art scenes of America, Europe, and Australia, backing and seaming prints with gampi (thanks to Paul Mullowney’s tutelage), flying with rolled prints in golf bags (for free!), and the Mario Avati Prize, which led to a one-person exhibition in the Institut de France in Paris, across the river from the Louvre.
The episode also touches upon the extensive network and collaborative spirit of printmakers and Jenny's summer residency at Flatbed Press in Austin, TX. Throughout the conversation, Jenny emphasizes the significance of artist visits, educational resources in art, and her ambitions for large-scale prints and workshops in her new Sydney studio.
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International Center of Graphic Arts (Mednarodni grafični likovni center), Ljubljana, Slovenia. Photo by Jaka Babnik.
Jenny Robinson (British, born 1957). Architectural Anomalies Series #2: Cornerstone. Drypoint on Gampi. 40 x 60 in. Courtesy of the Artist.
Jenny Robinson (British, born 1957). Palm House Series #2: The Glass House. Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist.
Jenny Robinson pinning up Palm House Series #2: The Glass House.
Jenny Robinson (British, born 1957). Palm House #1, 2021. Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist.
Jenny Robinson (British, born 1957). Paradigm. Drypoint on Gampi, backed with Sekishu. 60 x 80 in. Courtesy of the Artist.
Jenny Robinson (British, born 1957). Above L.A. Drypoint and monoprint. Sheet: 51 x 34 in. Courtesy of the Artist.
Jenny Robinson (British, born 1957). Hidden Lines, Fragile Frameworks, 2021, Drypoint on Gampi and Mulberry paper. Each: 150 x 98 cm. Courtesy of the Artist.
Jenny Robinson’s converted warehouse home, Sydney.
Jenny Robinson was awarded the Mario Avati Prix de Gravure in 2019. Solo exhibition took place at Le Pavillion comtesse de Caen, Academie des Beaux Arts, September 2021.
Installation shot of Jenny Robinson’s exhibition for the Mario Avati Prix de Gravure, Le Pavillion comtesse de Caen, Academie des Beaux Arts, Paris, September 2021.
Institut de France, Paris, 2021.
Installation shot of Jenny Robinson (British, born 1957). Structures, 2019. Drypoint on Gampi. Courtesy of the Artist.
Jenny Robinson Print Studio, Sydney.
Jenny Robinson Print Studio, Sydney. -
In s3e63 of Platemark, podcast host Ann Shafer talks with collaborative printer Peter Pettengill. Peter founded Wingate Studio in 1985 on his family’s dairy farm in Hinsdale, NH. Originally trained at Crown Point Press, Peter specializes in multi-plate color etchings. Now semi-retired, Peter’s son James has taken over the operating of the shop, though Peter lends a hand when requested.
They talk about Peter's early experiences at Crown Point Press, his work with celebrated artists such as John Cage, Sol LeWitt, and Walton Ford, and the technical and creative complexities of creating fine art prints. Peter reflects on his transition to semi-retirement, the passing of his studio to his son James, and the historical and artistic significance of their family farm turned artist residency. This episode offers listeners an insightful look into the dedication required in printmaking, the balance between creativity and technical skill, and the supportive community that underpins the art world.
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Robert Mapplethorpe (American, 1946–1989). Plate from the portfolio A Season in Hell, 1986. Photogravure printed with relief roll. Published by Limited Editions Club, photogravures by Jon Goodman and printed by Wingate Studio, text printed by Wild Carrot Press.
Sol LeWitt (American, 1928–2007). Crown Point, 1980. Bound volume with photoetchings. Plate (each) 2 ½ x 2 ½ in.; sheet (each) 11 x 11 in. Published by Crown Point Press, printed by Kevin Parker.
Joan Jonas (American, born 1936). Double Wheel, 1982. Color aquatint. Plate and sheet: 24 x 36 in. Published by Crown Point Press, printed by Peter Pettengill.
Sol LeWitt (American, 1928–2007). Complex Forms, 1990. Hard ground etching. Sheet: 36 x 36 in.; plate: 30 x 30 in. Printed by Wingate Studio.
John Cage (American, 1912–1992). Ryoku No. 4, 1985. Color drypoint. Plate: 18 x 24 in.; sheet: 18 x 24 in. Published by Crown Point Press, printed by Marcia Bartholme.
John Cage (American, 1912–1992). EninKa, 1986. One of 50 smoked paper monotypes with branding on gampi paper chine collé. Sheet: 18 ½ x 24 ½ in. Published by Crown Point Press, printed by Marcia Bartholme.
Walton Ford (American, born 1960). Swadeshi-cide, 1998–99. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 36 x 24 in.; sheet: 44 x 31 in. Published by Blue Heron Press, printed by Wingate Studio.
Walton Ford (American, born 1960). Baba–B.G., 1997. Mixed media. 105 x 74 cm. Paul Kasmin Gallery.
Walton Ford (American, born 1960). Bangalore, 2004. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 12 x 9 in.; sheet: 21 1/2 x 16 in. Published by Kasmin Gallery, printed by Wingate Studio.
Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio.
Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio.
Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio.
Xylor Jane (American, born 1963). Plate from Cat Hearts, 2023. Four-plate aquatint etching with sugar lift. Plate: 23 3/4 x 27 1/4 in.; sheet: 28 5/8 x 32 1/4 in. Printed and published by Wingate Studio.
Xylor Jane (American, born 1963). Third Order Magic Square for Deep Sleep, 2014. Three-plate aquatint etching. Plate: 17 3/4 x 15 1/2 in.; sheet: 24 1/2 x 21 3/4 in. Published by Wingate Studio.
Walton Ford (American, born 1960). Nantes, 2009. Two-plate aquatint etching with dry point, hard ground, and spit bite. Plate: 40 x 30 in.; sheet: 48 x 37 in. Published by Kasmin Gallery, printed by Wingate Studio.
Daniel Rios Rodriguez (American, born 1978). South Parish, 2017. Single-plate aquatint etching with burnishing, dry point, electric engraving, hard ground and soft ground. Plate: 20 x 17 in. (oval); sheet: 22 x 30 1/2 in. Published by Wingate Studio.
Gideon Bok (American, born 1966). Wingate Studio with Aldo’s Press, Threnody for R.L. Burnside, 2005. Three-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky.
Gideon Bok (American, born 1966). Wingate Studio with Aldo’s Press, No Sleep ’Til Hinsdale, 2008. Five-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky.
Louise Bourgeois (American, born France, 1911–2010). Les Fleurs, 2007. Soft ground etching, with selective wiping. Plate (in 2 vertical parts) (overall): 59 5/8 × 35 ¼ in.; sheet: 59 5/8 x 36 1/8. Published by Osiris, New York, printed by Wingate Studio.
Louise Bourgeois working on I See You!!!.
Louise Bourgeois (American, born France, 1911–2010). I See You!!!, 2007. Soft ground etching, with selective wiping. Plate: 55 1/2 x 21 5/8 in.; sheet: 59 1/8 x 24 1/8 in. Published by Osiris, New York, printed by Wingate Studio.
Sebastian Black (American, born 1985). Composition with Registration Marks and Other Marks, 2017. Five-plate aquatint etching with burnishing, soap ground and spit bite. Plate: 24 x 18 in.; sheet: 31 ¾ x 24 1/2 in. Published and printed by Wingate Studio.
L–R: Paul Singdahlsen, Peter Pettengill, Nanacy Anello, Kathan Brown, and Vito Acconci at Crown Point Press.
L–R: Peter Pettengill, Ed Ruscha, Marcia Bartholme at Crown Point Press.
Peter Pettengill (left) and James Pettengill working on a Sebastian Black print at Wingate Studio.
Peter Pettengill working at Wingate Studio.
Peter Pettengill (left) and Walton Ford working at Wingate Studio.Wingate’s website: https://wingatestudio.com/
Wingate’s FB page: https://www.facebook.com/search/top?q=wingate%20studio
Instagram: @wingatestudio
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In this five-part mini-series, Ann is talking to five artists who were selected to be included in an exhibition called 5X5, that was part of Print Austin's winter festival this year in 2024. The juror of the show is Mysczka Lewis, who is a curator at Tandem Press. Next up is Teresa Cole, an artist and printmaker from New Orleans. She has taught at Tulane University for nearly thirty years.
Teresa’s interest in the humanness of pattern has been a throughline in her work and she incorporates different cultures’ methods of patternmaking and storytelling in beautiful installations. In their conversation, they talk about orizome (a Japanese method of folding and dyeing paper), commissioning printed fabric for saris in India, printing on aluminum mesh, and Tulane’s tuition-free master’s program.
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Teresa Cole (American, born 1961). Exchange. Installation shot of printed stainless steel and aluminum cylinders. Freeman School of Business, Tulane University, New Orleans. Photo: Neil Alexander.
Teresa Cole (American, born 1961). Exchange. Pre-installation shot of printed stainless steel and aluminum cylinders. Freeman School of Business, Tulane University, New Orleans.
Teresa Cole (American, born 1961). Cosmati, 2021. Hand-cut Washi. 26 x 18 in. Courtesy of the Artist.
Teresa Cole (American, born 1961). Tessellation Entanglement, 2021. Screenprinted porcelain. 4 x 8 feet. Courtesy of the Artist.
Teresa Cole (American, born 1961). Redeem, 2023. Puff paint screenprinted on digital velvet. Installation view at WhiteSpace Gallery, January–February 2023.
Teresa Cole (American, born 1961). Bee Pattern, 2014. Screenprint. 25 x 16 in. Courtesy of the Artist.
Teresa Cole (American, born 1961). Infusion, 2017. Dyed relief printed Washi with bamboo. 48 x 117 in. Courtesy of the Artist.
Teresa Cole (American, born 1961). Saturate 2.0, 2017. Dyed relief printed Washi with bamboo. Courtesy of the Artist.
Printing fabric at Kanishka, India.
Hand-carved printing blocks carved for the artist at Kanishka, India.
Teresa Cole (American, born 1961). Seep, 2015. Process shot. Courtesy of the Artist.
Teresa Cole (American, born 1961). Seep, 2015. Relief printed and dyed Japanese paper with bamboo sticks. Installation at Artfields. Courtesy of the Artist.
Teresa Cole (American, born 1961). Seep, 2015 (left). Relief printed and dyed Japanese paper with bamboo sticks. Installation at Callan Contemporary, 2025. Courtesy of the Artist.
Teresa Cole (American, born 1961). Tangled Conquest, 2015. Relief printed on folded and dyed paper with sumi and walnut. 65 x 77 x 25 in. Courtesy of the Artist. -
Wondering how far you can take chine collé in a project? Listen in as Annalise Gratovich tells us all about this method of adding thin pieces of hand-dyed papers to giant woodcuts.
In s3e61 of Platemark, podcast host Ann Shafer continues talking to artists included in Print Austin’s 5x5 exhibition, juried by Myzska Lewis, a curator at Tandem Press. Next up is artist Annalise Gratovich. Annalise works in woodcut primarily (and etching), and is best known for her monumental woodcuts with multiple dyed papers glued down by chine collé.
We take a deep dive into the ins and outs of chine collé, her Ukranian heritage and inherited trauma, cuteness as a means to help viewers access difficult subjects, and her recent battle with a mystery autoimmune disease.
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Annalise Gratovich (American, born 1989). The Healer, from the series Villagers Carrying Things from Home, 2023. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Mariner, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Mother, from the series Villagers Carrying Things from Home, 2019. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Undertaker, from the series Villagers Carrying Things from Home, 2021. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Builder, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Hunter, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Musician, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in.
Installation view, Flatbed Press, Austin, TX, 2024.
Installation view, Plains Art Museum, Fargo, North Dakota, 2023.
Annalise Gratovich pulling The Healer at Flatbed Press, Austin, TX.USEFUL LINKS
IG: @annalisegratovich
FB: https://www.facebook.com/annagratovich
Website: https://annalisegratovich.com/
Mesh Art Gallery: https://meshartgallery.com/collections/annalise-gratovich
Flatbed Press: https://flatbed-press.myshopify.com/collections/annalise-gratovich
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Enlightenment publications on human anatomy changed the way artists understood their place in the world. Check out these examples of life-changing images brought to you by prints in books!
In s2e31 of Platemark’s History of Prints series, Tru and Ann continue their discussion of the Enlightenment. This time they look at several publications that put forward new discoveries about human anatomy: William Hunter’s The Anatomy of the Human Gravid Uterus, Bernhard Siegfried Albinus’ Tabulae sceleti et musculorum corporis humani, and Jacques Fabien Gautier d’Agoty’s Myologie complette en couleur et grandeur naturelle. They conclude with Denis Diderot’s Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, a 17-volume tome that attempted to define and codify all of human knowledge.
At the end of the episode, Ann and Tru wax philosophical about how incredible this blossoming of human knowledge is, and how talking about it makes each of them think about our place as humans on the planet. It gets a bit deep, but worthwhile.
A. Hadamart. Exhibition of the Royal Academy of Painting and Sculpture in the Grande Galerie of the Louvre, 1699. Engraving.
Gabriel de Saint-Aubin (French, 1724–1780). Vue du Louvre en l’année 1753, 1753. Etching. Plate: 5 13/16 x 7 1/8 in. (14.8 x 18.1 cm.); sheet: 6 ¼ x 7 5/8 in. (15.8 x 19.3 cm.). Metropolitan Museum of Art, New York.
Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1785, 1785. Etching. Plate: 10 7/8 x 19 1/8 in. (27.6 x 48.6 cm.); sheet: 14 1/4 x 20 3/4 in. (36.2 x 52.7 cm.). Metropolitan Museum of Art, New York.
Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1787, 1787. Etching. Plate: 12 11/16 x 19 5/16 in. (32.2 x 49.1 cm.); sheet: 14 x 19 3/4 in. (35.6 x 50.2 cm.). Metropolitan Museum of Art, New York.
Pietro Antonio Martini (Italian, 1738–1797), after Johann Heinrich Ramberg (German, 1763–1840). The Exhibition of the Royal Academy 1787, 1787. Engraving. Plate: 36.1 x 49.9 cm. British Museum, London.
Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris.
Sir Joshua Reynolds (British, 1723–1792). Lady Sarah Bunbury Sacrificing to Graces, 1765. Oil on canvas. 242.6 × 151.5 cm. (95 1/2 × 59 3/4 in.). Art Institute of Chicago.
Sir Joshua Reynolds (British, 1723–1792). Lord Heathfield of Gibraltar, 1787. Oil on canvas. 142 x 113.5 cm. National Gallery, London.
Pietro Antonio Martini (Italian, 1738–1797). Salon de 1787: view of the Salon Carre at the Louvre during the painting exhibition in Paris, 1852. Engraving. From Frank Leslie’s Popular Monthly.
Jean-Antoine Houdon (French, 1741–1828). Voltaire Seated, 1781. Terra-cotta. 120 cm. tall. Musée Fabre, Montpellier.
Jean Honoré Fragonard (French, 1732–1806). Les hasards heureux de l’escarpolette (The Swing), c. 1767–68. Oil on canvas. 81 x 64.2 cm. The Wallace Collection, London.
Jean-Antoine Houdon (French, 1741–1828). Benjamin Franklin, 1778. Marble. 23 1/8 × 14 1/2 × 11 1/4 in. Metropolitan Museum of Art, New York.
Rembrandt (Dutch, 1606–1669). The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas. 216.5 × 169 ½ cm. (85 1/4 × 66 5/8 in.). Mauritshuis, The Hague.
William Hunter (British, 1718–1783). Title page from The Anatomy of the Human Gravid Uterus. Birmingham: John Baskerville, 1774.
Jan van Rymsdyk (Dutch, c. 1730–1790). Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving.
Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.
Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the female genetalia and fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.
Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London.
Roman copy of Greek marble. The Dying Gaul, late 3rd century BCE. Marble. Capitoline Museums, Rome.
William Pink (British, 1809–1857), after Agostini Carlini (British, born Italy, c. 1718–1790). Smugglerius, c. 1834. Plaster. Royal Academy of Arts, London.
Thomas Banks (British, 1735–1805). Anatomical Crucifixion (James Legg), 1801. Plaster cast. Royal Academy of Arts, London.
Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Title page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.
Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.
Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.
Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746.
Leonardo da Vinci (Italian, 1452–1519). Sketchbook page, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775.
Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie générale des viscères. Paris: 1752.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London.
Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie des parties de la génération de l'homme et de la femme. Paris, 1773.' Pregnant Woman
Jean-Antoine Houdon (French, 1741–1828). Denis Diderot (1713–1784), 1773. Marble. Height (bust): 15 3/4 in. (40 cm.); height (stand): 4 11/16 in. (11.9 cm.). Metropolitan Museum of Art, New York.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Anatomy pages from the Encyclopedia Britannia, 1963.
Flags pages from the Encyclopedia Britannia, 1963.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York. -
In Platemark’s History of Prints series, we are leaving the Baroque behind and are turning to the Enlightenment. The late seventeenth and eighteenth century is a fascinating time when social ideas focused on the value of knowledge in all sectors. Rationalism and empiricism led to the scientific revolution, the separation of church and state, literary salons, and for the purposes of this episode, art academies. The era saw the establishment of taxonomies, dictionaries, encyclopedias, and studies of foreign cultures. The results of all of these studies led to both good and bad, leading Tru and I to discuss alternate terms for the era beyond the Enlightenment: the Endarkenment and the Enwhitenment. Listen in as we parse out this fascinating moment in history.
You can listen to Platemark or watch a video version. Links to all the possibilities are on the episode page at www.platemarkpodcast.com.
George Peabody Library, Johns Hopkins University, Baltimore.
Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris.
Aerial view of Versailles.
Nicolas Poussin (French, 1594–1665). Et in Arcadia ego, 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris.
Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles.
Façade of the Louvre Museum.
Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos, 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago.
Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust.
Raphael (Italian, 1483–1520). School of Athens, 1509–11. Stanza della Segnatura, Apostolic Palace, Vatican.
Roman. Laocoön and His Sons, 27 BCE–68 CE. Marble. 208 × 163 × 112 cm. (82 × 64 × 44 in.). Museo Pio-Clementino, Vatican City.
Wax ecorché figure. Science Museum, London.
Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London.
Anton von Maron (German, 1733–1808). Portrait of Johann Joachim Winkelmann, 1767. Oil on canvas. 136 x 99 cm. (53 ½ x 38 7/8 in.). Collection of Schloss Weimar, Weimar, Germany.
Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris.
Jan van Riemsdyck, Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving.
Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York.
Denis Diderot (French, 1713–1784). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris : André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. -
African-American artist Dox Thrash is in the spotlight on s3e60 of Platemark. Podcast host Ann Shafer speaks with Ron Rumford, director of Dolan/Maxwell, a private gallery in Philadelphia, which has a particular specialty in the prints of Stanley William Hayter and the associated artists of Atelier 17, as well as Black artists of the same era, such as Dox Thrash, Bob Blackburn, Norma Morgan, Elizabeth Catlett, Ed Clark, and more. Ron was eager to highlight an exhibition focused on Dox Thrash, which is on view at the African American Museum of Philadelphia through August 4, 2024.
They talk about Thrash and his invention of the carborundum mezzotint, Bob Blackburn’s Printmaking Workshop and its relationship to Atelier 17 and Hayter, the monumental importance of the WPA printmaking division, and Ballinglen, an artist residency and gallery founded by Peter Maxwell and Margo Dolan in Ballycastle, a tiny farming town in County Mayo, Ireland.
Dox Thrash (American, 1893–1965). Sunday Morning, c. 1939. Etching. Sheet: 12 5/8 x 10 5/8 in.; plate: 8 7/8 x 7 7/8 in. Metropolitan Museum of Art, New York.
L-R: Krishna Reddy, Stanley William Hayter, Robert Blackburn, and friend, 1980s, at Reddy’s studio.
Hayter at the press with lithography press behind him, Atelier 17 in New York.
Photo of Pennerton West with fellow artists including Augusta Savage and Norman Lewis.
Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia.
Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia.
Dox Thrash (American, 1893–1965). Georgia Cotton Crop, c. 1944–45. Carborundum mezzotint. Plate: 8 7/16 x 9 7/8 in.; sheet: 11 ¼ x 11 3/4. in. Dolan/Maxwell Gallery, Philadelphia.
Dox Thrash (American, 1893–1965). Ebony Joe, c. 1939. Lithograph. Sheet: 10 5/8 x 8 7/8 in. Saint Louis Art Museum, St. Louis.
Dox Thrash (American, 1893–1965). Octoroon (Study for a Lithograph), c. 1939. Brush and ink wash over graphite. Sheet: 16 7/8 x 12 ¼ in. Philadelphia Museum of Art, Philadelphia.
Dox Thrash (American, 1893–1965). Octoroon, c. 1939. Lithograph. Sheet: 22 13/16 x 11 9/16 in. Collection of John Warren, Philadelphia.
Dox Thrash (American, 1893–1965). Charlot, c. 1938–39. Carborundum mezzotint. Plate: 8 15/16 x 6 15/16 in. Dolan/Maxwell, Philadelphia.
Michael Gallagher (American, 1895–1965). Lackawanna Valley, 1938. Carborundum mezzotint. Plate: 7 3/8 x 12 11/16 in.; sheet: 9 3/8 x 14 in. Philadelphia Museum of Art, Philadelphia.
Hugh Mesibov (American, 1916–2016). Homeless, 1938. Carborundum mezzotint. Plate: 5 3/8 x 10 3/8 in. Pennsylvania Academy of Fine Arts, Philadelphia.
Dox Thrash (American, 1893–1965). One Horse Farmer, c. 1944–48. Carborundum mezzotint. 9 x 6 in. National Museum of American History, Smithsonian Institution, Washington, D.C.
John Ruskin (British, 1819–1900). The Garden of San Miniato near Florence, 1845. Watercolor and pen and black ink, heightened with whie gouache, over graphite. Sheet: 13 7/16 x 19 3/8 in. National Gallery of Art, Washington, D.C.
Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio). Sheet: 495 x 647 mm. (19 1/2 x 25 1/2 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.
Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), and green (screen, relief). Sheet: 460 x 660 mm. (18 1/8 x 26 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.
Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving and softground etching; printed in black (intaglio), orange (screen, relief), and purple (screen, relief). Sheet: 510 x 666 mm. (20 1/16 x 26 1/4 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.
Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), green (screen, relief), orange (screen, relief), and purple (screen, relief). Sheet: 488 x 668 mm. (19 3/16 x 26 5/16 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.
Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland.USEFUL LINKS
Imprint: Dox Thrash, Black Life, and American Culture. African American Museum in Philadelphia, March 23–August 4, 2024.
https://www.aampmuseum.org/current-exhibitions.html
John Ittmann. Dox Thrash: An African American Master Printmaker Rediscovered. Philadelphia: Philadelphia Museum of Art, 2001. https://archive.org/details/doxthrashafrican00ittm
Dox Thrash House, Philadelphia: https://doxthrashhouse.wordpress.com/
Ballinglen Arts Foundation: https://www.ballinglenartsfoundation.org/fellowship/
Dolan/Maxwell’s IG: @dolan.maxwell
Ron’s IG account: @ron.rumford
Ron’s artist website: www.ronrumford.com
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In s3e59, Platemark host Ann Shafer sits down with David Avery to talk shop. David is an etcher, who restrains his work in both size and palette, but manages to tackle big topics. His social commentary is stinging and remarkable in that it comes in such a small package. These etchings pack a punch.
Ann and David talk about absurdist literature, standing on the shoulders of giants (Dürer, Max Klinger, Della Bella), how prescient Goltzius’s Disgracers are, and how we could never have imagined the state of our politics—reality is outstripping our imaginations.
Cover image: Patricia Avery
Max Klinger (German, 1857–1920). Abduction (plate 9 from Paraphrase on the Finding of a Glove), 1881. Etching, drypoint, and aquatint on chine collé. Sheet: 18 15/16 x 26 in. Metropolitan Museum of Art, New York.
David Avery (American, born 1952). Obeliscolycny, 2013. Etching. Plate: 27 ¾ x 5 in.; sheet: 33 5/8 x 10 in. Courtesy of the Artist.
David Avery (American, born 1952). Safe, Clean, Cheap: Phaethon in the 21st Century, 2011. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist.
David Avery (American, born 1952). Too Close to the Sun, 2013. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist.
David Avery (American, born 1952). Running on Empty, 2016. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist.
David Avery (American, born 1952). Mendacia Ridicula (The Wheel of Ixion), 2018. Etching. Plate: 6 x 6 in.; sheet: 12 x 11 in. Courtesy of the Artist.
Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). The Four Disgracers, 1588. Engraving. Metropolitan Museum of Art, New York.
David Avery (American, born 1952). Ship of Fools (Das Narrenschiff), 2018.Etching. Plate: 14 ¼ x 7 ½ in. Courtesy of the Artist.
David Avery (American, born 1952). After the Deluge, 2022. Etching. Plate: 10 ½ x 7 ¾ in. Courtesy of the Artist.
David Avery (American, born 1952). Becalmed, 2023. Etching. Plate: 6 x 15 ¾ in.; sheet: 10 x 18 ¾ in. Courtesy of the Artist.
David Avery (American, born 1952). Concerning The Great Ship MOUR-DE-ZENCLE, 2016. Etching. Plate: 12 ¾ x 6 ¼ in.; sheet: 18 ¼ x 11 in. Courtesy of the Artist.David’s galleries
https://www.inclusionsgallery.com/
https://www.warnockfinearts.com/david-avery
https://childsgallery.com/artist/david-avery/
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In s3e59, Platemark host Ann Shafer continues talking to artists included in Print Austin’s 5x5 exhibition, juried by Myzska Lewis, a curator at Tandem Press. Second up is Anna Trojanowska, an artist and lithographer from Wroclaw, Poland. Anna creates collages made from lithographs, which she creates on a single marble slab in her garage studio. The works included in 5x5 seek to give the feeling of echolalia, a form of autism in which words and phrases are repeated over and over. That repetition is a central part of the collages and gives the feeling of uncontrolled reverberation.
Ann and Anna talk about falling in love with lithography, what it’s like to use marble instead of limestone, how the veins in marble wander as the stone is ground down, how to transfer sound into images, and the surprise technique she would turn to if she had to give up lithography.
Cover image by Marcin Simonides
Anna Trojanowska (Polish, born 1978). Echolalia_12, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist.
Anna Trojanowska (Polish, born 1978). Echolalia_14, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist.
Anna Trojanowska (Polish, born 1978). Echolalia_16, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist.
Anna Trojanowska (Polish, born 1978). Echolalia_19, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist.
Anna Trojanowska (Polish, born 1978). Echolalia_20, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist.Anna's website: https://litografia.pl/en/authors/
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In s3e57, Platemark host Ann Shafer speaks with Karen Kunc, an artist who manipulates reduction woodcuts in an amazing and unique way. Karen is a retired professor from the University of Nebraska, and is owner of Constellation Studios in downtown Lincoln. At the studio, which opened ten years ago, Karen offers workshops, curates exhibitions, and makes her own work. The studio includes equipment for papermaking, book arts, letterpress, and other means of creating prints.
Karen’s work includes relief prints and artist books reflecting her signature nature-based lyrical abstraction. These images could be macro or micro: the biomorphic shapes could be aerial images of her native Nebraska, or the wiggles and squiggles could be forms held within our cells. Each print becomes a portal to an alternate reality, where the boundaries between the tangible and the intangible blur, inviting us to explore the complexities of our earthly domain.
This all sounds simple, but Karen’s process is anything but. She uses stencils, fingers, hands, brushes and any other tool to gain amazing transitions between forms. Plus, she intuitively solves compositional challenges as she goes. Karen is an artist's artist whose groundbreaking woodcuts will amaze and delight you.
Karen Kunc (American, born 1952). Array of Raressence, 2018. Woodcut. 72 x 26 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Coral Sanctuary, 2019. Woodcut. 72 x 26 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Blue Cascade, 2020. Woodcut. 14 1/2 x 42 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Gatherings, 2021. Woodcut. 14 x 29 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Distillation, 2018. Woodcut, etching, pochoir, and watercolor. 12 x 24 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Sacred Allegori, 2018. Woodcut, etching, pochoir, and watercolor. 24 x 24 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Drifts of Ice & Gold, 2022. Woodcut. 17 x 56 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Blooms of the Present Moment, 2023. Woodcut. 17 x 56 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Waves of Riches, 2016. Woodcut and pochoir. 13 1/2 x 57 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Panoply, 2016. Woodcut and pochoir. 13 1/2 x 57. Courtesy of the artist.
Karen Kunc (American, born 1952). Verse from Macrocosmica, 2010. Woodcut. 29 x 24 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Release, 2020–21. Accordion-folded volume with etching, woodcut, and letterpress on various Japanese Nishinouchi papers. Closed: 7 x 4 in.; open: 7 x 56 in. Published by Blue Heron Press at Constellation Studios, Lincoln, Nebraska. Courtesy of the artist.
Karen Kunc (American, born 1952). The Way of Water, 2024. Accordion-folded volume with woodcut and letterpress on Japanese Nishinouchi. Closed: 11 x 7 1/2 in.; open: 11 x 45 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Incessant White Noise, 2013. Accordion-folded volume with woodcut and letterpress on Japanese Nishinouchi. Closed: 11 x 5 in; open: 11 x 35 in. Courtesy of the artist.
Constellation Studios, Lincoln, NE. - Mehr anzeigen
