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Why Study Prints Now, Redux

In 1987, during the fall semester of my first year in a settled teaching job, I went to Lawrence, Kansas, for a conference in honor of the “Little Masters” exhibition curated by Stephen Goddard, and there I was introduced to Peter Parshall …Read More

Art in Art in Print No. 5: Alexander Massouras: The Real and the Imaginary (2016)

Art in Art in Print is an irregular, ongoing series of projects in which artists create art within the journal—not a piece of art that exists somewhere else and is reproduced in the journal, but a project designed specifically for the material, technological and social context of Art in Print.

We are pleased to present Alexander Massouras’ The Real and the Imaginary as the fifth of these projects. …Read More

Engraving for Herself and Others: Cécile Reims

Cécile Reims, plate from Les Métamorphoses (1957–8), suite of 15 engravings, 30.8 x 20.7 cm each. Edition of 25. Text by Ovide. Printed by André Moret, Paris. Typography by Étienne Baudelot, Paris. Published by Cécile Reims, Lacoux, France (1959). ©Musée Jenisch Vevey—Cabinet cantonal des estampes, collection de la Ville de Vevey / clichés Barbara Piovan et Mauro Magliani.

I, the engraving, I am engraved, scratched, scraped, nielloed;

I am a wound like a furrow in the soil and a gouge in the flesh . . . …Read More

Ellen Lanyon: The Objects of Her Obsession

Ellen Lanyon, Curiosities, Toad (2014), screenprint, 47 x 46 cm. Edition of 30. Printed by Kip Gresham, The Print Studio, Cambridge, UK. Co-published by the artist and The Print Studio. ©Estate of Ellen Lanyon. Courtesy of Richard Gray Gallery, Chicago and New York.

“It all began with a small majolica humidor in the form of a toad in a red westcott [sic], smoking a pipe.” Thus Ellen Lanyon (1926–2013) opened her autobiography with a Victorian earthenware vessel that rested on the mantel of her childhood home in Englewood, IL …Read More

The Lithographs of Theodore Roszak

Theodore Roszak, Woman (artist’s grandmother) in Veiled Hat with Cactus Plant (1927), lithograph in black on cream wove paper, image 16 1/2 x 12 1/2 inches. Courtesy the Estate of Theodore Roszak/Licensed by VAGA, New York.

Theodore Roszak (1907–1981) has long been recognized for the expressive welded metal sculptures that he began to make in the mid-1940s, and his drawings, paintings and Constructivist objects of the 1930s have also received curatorial attention. …Read More

Degas’ Etchings of Mary Cassatt at the Louvre and the Aesthetics of Process

Fig. 1. Edgar Degas, Mary Cassatt at the Louvre: The Etruscan Gallery; ninth state (1879-80), softground etching, drypoint, aquatint and etching, 26.7 x 23.2 cm. Courtesy National Gallery of Art, Washington.

Writing on the first Impressionist exhibition in 1874, the critic Jules Castagnary observed about the painters’ preference for “the unfinished” (Le non fini): “One cannot say that the Impressionists invented it. They vaunt it, they exalt it . . . they put it on a pedestal and they adore it.” …Read More