Théophile Alexandre Steinlen, The Street, poster for the printer Charles Verneau (1896), color lithograph on wove paper, image 234.5 x 296 cm, sheet 242 x 299 cm. Van Gogh Museum, Amsterdam, purchased with support from the BankGiro Loterij.
The Van Gogh Museum in Amsterdam, which opened in 1973, has been collecting French fin-de-siècle prints since 2000, when it purchased around 800 prints and artists’ books from Richard Feldhaus, a German private collector. The print department now holds some 1,800 works from this period Read More
Thomas Schütte, from Gartenzwerge (2016). From left to right: Gartenzwerg (Blau) (2016), Gartenzwerg (Rot) (2016), Gartenzwerg (Violet) (2016). Images courtesy of Carolina Nitsch.
Thomas Schütte’s print series are once removed from the sculptures, models and installation pieces for which he is best known; they are more closely worked and sometimes produced many years later Read More
Vues d’Italie wallpaper installed in the house of James Siena and Katia Santibañez in Otis, MA. All color images of the wallpaper in the house are courtesy of Armin Kunz, New York.
As New York artist James Siena tells it, the small town of Otis in Western Massachusetts (incorporated in 1810) has only ever been distinguished for two things: an early nudist colony, established in 1933, and the house of Squire Lester Filley, a noted lawyer, member of the State Legislature and founder of the local Episcopal church. Read More
Among the earliest works in the National Gallery of Art’s comprehensive summary of the history of American printmaking are four mezzotint portraits made by John Simon after John Verelst’s paintings of the Native American leaders who made a diplomatic visit to Queen Anne in London in 1710 Read More
Subway poster for Ed Pinaud’s Eau de Quinine (ca. 1920), lithograph, 25.5 × 50.5 cm. The Metropolitan Museum of Art.
One hundred years ago William Ivins abandoned his legal career to become the first curator of the newly established Department of Prints at the Metropolitan Museum of Art. He swiftly dispensed with the trustees’ brief for a traditional collection of works of an “artistic” nature Read More
The two white footprints, extending almost the full height of the black ground, initially read as impressions of human appendages. But the splayed toes, the disproportionately large forefoot and the odd wobble of the contour soon begin to conjure something less tame Read More
José Antonio Suárez Londoño, plate from The Herkimer Suite (detail) (2014). Courtesy Harlan & Weaver, Inc., New York.
In May 2014, Colombian artist José Antonio Suárez Londoño was living in an apartment on Herkimer Street in Brooklyn while he worked on a project with printers Felix Harlan and Carol Weaver that would eventually take on the name of the street. Read More
Lyonel Feininger, Drei Tannen (Three Fir Trees) (1919), woodcut on Oriental laid paper, 8.9 x 8.3 cm. Moeller Fine Art, New York.
More than 50 of Lyonel Feininger’s extraordinary early woodcuts from his personal collection, in pristine condition and rarely seen, were on view at Moeller Fine Art in New York earlier this year after a run at the gallery’s Berlin branch, whose permanent closure was announced in June after five years of operation. Read More
The work of R.B. Kitaj (1932–2007) has received an exceptional amount of attention this past year, much of it in England and much of it favorable—a development that would surely have astonished the artist. Born to a Jewish family in Cleveland, Ohio, Kitaj spent much of his adult life in the U.K. In 1994, however, Kitaj’s long-tetchy relationship with British critics was brought to a rancorous close when his retrospective at the Tate was eviscerated in the British newspapers. This event, followed by the unexpected death of his wife a few weeks later, caused a terminally wounded and, by many accounts, utterly unhinged Kitaj to flee to Los Angeles, where he committed suicide in 2007. Read More