Platemark: prints and the printmaking ecosystem

In s3e32 of Platemark, host Ann Shafer speaks with Ad Stijnman, an independent scholar of historical printmaking processes, specializing in manual intaglio printmaking techniques. He is also a professional printmaker.

Ad is the go-to guy on all sorts of things. When he speaks, we listen. Beaming in from Amsterdam, our conversation covers all sorts of topics from paper sizing and watermarks to acids and chine collé. We talk about teaching people to look, really look, and be able to describe what they are seeing. We talk about the troubling lack of an internationally shared vocabulary—what color is fawn or taupe, anyway? We talk about why neither of us wears gloves to handle works on paper except in very special circumstances. And, we talk about producing an invaluable and exhaustive (if not complete) list of terms and abbreviations found in print addresses: https://9ea6427a-9293-483f-80d4-9523d4ed999b.filesusr.com/ugd/6b3a67_c8b34f39781542deabab39e8c132c430.pdf.

Ad has lectured and published widely on the materials and techniques of intaglio processes going back to their beginnings. His seminal, award-winning book Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes (2012) is on any serious scholar's bookshelf. Together with Elizabeth Savage, he co-edited the award-winning book Printing Colour 1400–1700: History, Techniques, Functions and Receptions (2015). His curatorial activities include exhibitions on medieval prints, early modern colour prints and Rembrandt's etchings on Japanese paper.

Ad Stijnman (Netherlandish, born 1957). Nagasaki Ki, 2007. Installation of ten prints: engraving, mezzotint, relief etching, white Johannot paper. Each print 50 x 32.5 cm.; overall size 200 x 140 cm.

Julian Trevelyan. Etching: Modern Methods of Intaglio Printmaking. New York: Watson-Guptill Publications, 1964.

Ad Stijnman. Etsvademecum. De Bilt: Cantecleer, 1985.

Virtuelles Kupferstichkabinett: http://www.virtuelles-kupferstichkabinett.de/de/.

Rembrandt van Rijn (Dutch, 1606–1669). The Three Crosses, 1653. Drypoint on vellum. Plate: 37.2 x 42.8 cm (14 5/8 x 16 7/8 in.); sheet: 37.8 x 44.1 cm (14 7/8 x 17 3/8 in.). National Gallery of Art, Washington, D.C.

Ad Stijnman, ed. Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes. Paderborn, Germany: Brill | Hes & De Graaf, 2012.

Ad Stijnman and Elizabeth Savage, eds. Printing Colour 1400–1700: History, Techniques, Functions and Receptions. Amsterdam: Brill, 2015.

Yuriko Miyosi (Japanese, born 1962) and Ad Stijnman (Netherlandish, born 1957). 24 Roundels, 2020. Circular papers by Miyosi, plates and printing by Stijnman. Colour inks, chine collé, goldleaf. Each roundel: approximately 12 cm.

Marion Bouwhuis (Netherlandish, born 1951), Yuriko Miyosi (Japanese, born 1962), and Ad Stijnman (Netherlandish, born 1957). Covid 19 Exchange Print. Etching printed in blue on white Arches by Bouwhuis, pink circular paper by Miyoshi, etching printed in purple with chine collé and goldleaf by Stijnman. Sheet: 25 x 32.5 cm.

Ad Stijnman (Netherlandish, born 1957). Column, 1999. Mezzotint on chine collé on white Zerkall paper. Plate: 16 x 21.6 cm.

Ad Stijnman (Netherlandish, born 1957). Column, 1999. Mezzotint on white Zerkall paper. Plate: 16 x 21.6 cm.

Joris Hoefnagel (Flemish, 1542–1600). Plate 10: A Lion and a Civet Cat from Volume II, Animalia Qvadrvpedia et Reptilia (Terra), c. 1575–80. Watercolor and gouache on vellum. Page: 14.3 x 18.4 c.m (5 5/8 x 7 ¼ in.). National Gallery of Art, Washington, D.C.

Scholarly Colloquium: Telling the From Jikji to Gutenberg Story. 2023. Video. Retrieved from the Library of Congress, www.loc.gov/item/webcast-10808.

James Ensor (Belgian, 1860–1949). Death Chasing the Flock of Mortals, 1896. Etching. Plate: 23.7 × 18.1 cm. (9 3/8 × 7 3/16 in.); sheet: 29 × 22.1 cm. (11 7/16 × 8 3/4 in.). Art Institute of Chicago, Chicago.

HELPFUL LINKS

Ad Stijnman's scholarly website: https://tulip88x.wixsite.com/ad--stijnman.

Ad Stijnman's list of terms and abbreviations in print addresses: https://9ea6427a-9293-483f-80d4-9523d4ed999b.filesusr.com/ugd/6b3a67_c8b34f39781542deabab39e8c132c430.pdf.

Association of Print Scholars: https://printscholars.org/.

In s2e29, Platemark hosts Ann Shafer and Tru Ludwig talk about Claude Lorrain, the arbiter of landscape painting in the 17th century. He worked most of his life in Rome and elevated landscape as a subject up the academic hierarchy by including small figural groups and naming the compositions with mythological or biblical subjects. He's known by various names that can be confusing. He was born Claude Gelée in the independent duchy of Lorraine, which is why the French call him le Lorrain. The English, who collected his works assiduously and even now have the highest number of his works (by country), refer to him simple as Claude.

He created an amazing cache of ink and wash drawings of each of his painted compositions in a first catalogue raisonné of sorts. He dubbed this book the Liber Veritatis («the book of truth»). Claude told his biographer Filippo Baldinucci that he kept the record as a defense against others passing off his work as theirs. This bound group of drawings was collected and owned by the Dukes of Devonshire from the 1720s until 1957 when it was given to the British Museum (in lieu of estate taxes upon the death of Victor Christian William Cavendish, the 9th Duke of Devonshire).

While Claude died in 1682, his renown in England was enough to prompt the print publisher John Boydell to hire artist Richard Earlom to create prints after the drawings nearly one hundred years after Claude's death. Two hundred etchings with mezzotint were created between 1774 and 1777, and were published in two volumes as Liber Veritatis. Or, A Collection of Two Hundred Prints, After the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings.... Later, a third volume of an additional 100 prints was published in 1819.

Earlom used etching to mimic Claude's ink lines and mezzotint for the wash areas. They were printed in brown ink to mimic iron gall ink. Hugely influential in England, the books were popular with collectors and were used by artists as models for copying. The Liber Veritatis also inspired J.M.W. Turner to produce a similar project of 71 prints after Turner's painted compositions, which he called Liber Studiorum.

They may appear old fashioned to contemporary viewers, but rest assured, landscape was just getting its legs under it. Boring imagery? Maybe. But important for our story of the history of prints in the West.

Episode image: Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London.

Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles.

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.

Claude Mellan (French, 1598–1688). Louis XIV as a Child, 1618–1688. Engraving. Sheet (trimmed to platemark): 13 9/16 x 9 1/2 in. (34.5 x 24.2 cm.). Metropolitan Museum of Art, New York.

Federico Barocci (Italian, 1528–1612). The Stigmatization of St. Francis, after the painting in the Church of the Capuccines, Urbino, c. 1575. Etching, engraving, and drypoint. Plate: 228 x 145 mm. (9 x 5 ¾ in.). Achenbach Foundation for Graphic Arts, Fine Arts Museum of San Francisco.

Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York.

Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (iv/iv state), c. 1660. Drypoint. Sheet (trimmed to platemark): 15 1/16 x 17 1/2 in. (382 x 444 mm.). Metropolitan Museum of Art, New York.

Annibale Carracci (Italian, c. 1557–c. 1642). St. Jerome in the Wilderness, c. 1591. Etching and engraving. Sheet (trimmed to platemark) : 24.8 x 19.2 cm. (9 ¾ x 7 9/16 in.). Metropolitan Museum of Art, New York.

Guido Reni (Italian, 1575–1642). The Holy Family, c. 1595–1600. Etching and engraving. Sheet (trimmed to platemark): 20 x 14 cm. (7 7/8 x 5 12 in.). Metropolitan Museum of Art, New York.

Jusepe de Ribera (Spanish, 1591–1652). The Penitence of St. Peter. 1621. Etching and engraving. Sheet (trimmed to platemark): 31.8 x 24.2 cm. (12 ½ x 9 ½ in.). Metropolitan Museum of Art, New York.

Salvator Rosa (Italian, 1615–1673). Jason and the Dragon, 1663–64. Etching and drypoint. Plate: 13 5/16 × 8 9/16 in. (33.8 × 21.8 cm.); sheet: 14 5/16 × 9 15/16 in. (36.4 × 25.3 cm.). Metropolitan Museum of Art, New York.

Gian Lorenzo Bernini (Italian, 1598–1680). The Ecstasy of Saint Teresa, 1647-52. White marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome.

Caravaggio (Italian, 1571–1610). Conversion of Saint Paul on the Way to Damascus, 1600–01. Oil on canvas. 230 × 175 cm. (91 × 69 in.). Santa Maria del Popolo, Rome.

Andrea Pozzo (Italian, 1642–1709). Assumption of St. Francis, c. 1685. Sant'Ignazio, Rome.

Pietro Testa (Italian, 1612–1650). The Martyrdom of St. Erasmus, c. 1630. Etching. Sheet: (trimmed to platemark): 27.9 x 18.9 cm. (11 7 7/16 in.). Metropolitan Museum of Art, New York.

Jacques Callot (French, 1592–1635). Plate eleven: The Hanging from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/8 x 8 1/4 in. (10.5 x 21 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York.

Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence.

Diego Velasquez (Spanish, 1599–1660). Surrender at Breda, 1634–35. Oil on canvas. 307 x 367 cm. (121 x 144 in.) Museo del Prado, Madrid.

Callot's Hanging Tree spreads word of the facts of the attack on Nancy, whereas paintings can only be in one place (Rubens' Consequences of War and Velasquez's Surrender at Breda).

Jean Marot (French, 1619–1679), after Gian Lorenzo Bernini (Italian, 1598–1680). The Louvre in Paris, elevation of the principal facade facing Saint-Germain l'Auxerrois. Plate 8 from Jacques-François Blondel's Architecture françoise, volume 4, book 6.

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.

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.

Nicolas Poussin (French, 1594–1665). The Abduction of the Sabine Women, c. 1633–34. Oil on canvas. 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm.). Metropolitan Museum of Art, New York.

Rembrandt van Rijn (Dutch, 1606–1669). Landscape with the Good Samaritan, 1638. Oil on oak panel. 46.2 × 65.5 cm. (18 × 25 3/4 in.). Czartorynski Museum, Kraków.

Jacob van Ruisdael (Dutch, 1628/1629–1682). View of Haarlem with Bleaching Fields, c. 1670–75. Oil on canvas. 62.2 x 55.2 cm. (24 ½ x 21 ¾ in.). Kunsthaus Zurich, Zurich.

Thomas Cole (American, born England, 1801–1848). Catskill Mountains Landscape, c. 1826. Oil on panel. 15 15/16 x 21 7/8 in. Sheldon Museum, University of Nebraska-Lincoln.

Tru's diagrams of Poussin's Et in Arcadia Ego.

Claude Lorrain (French, c. 1600–1682). Self-Portrait. Oil on canvas. Musée des Beaux-Arts de Tours.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Frontispiece for the Liber Studiorum, 1777. Plate: 7 x 5 in. New York Public Library.

Claude Lorrain (French, c. 1600–1682). Seaport with the Embarkation of the Queen of Sheba, 1648. Oil on canvas. 149.1 × 196.7 cm. (58 3/4 × 77 1/2 in.). National Gallery, London.

One of many Claude Lorrain paintings with its corresponding diagram.

Several diagrams showing compositional plans according to the Golden Ratio.

Claude Lorrain (French, c. 1600–1682). Rustic Dance, 1637. Oil on canvas. Galleria degli Uffizi, Florence.

Claude Lorrain (French, c. 1600–1682). The Village Boerendans Dance, c. 1637. Etching. 29.7 x 24.1 cm. (11 ¾ x 9 ½ in.). Alamy Stock Photo.

Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising, 1634. Etching. Sheet: 5 9/16 x 8 1/4 in. (14.1 x 21 cm.); plate: 5 1/8 x 7 13/16 in. (13 x 19.8 cm.). Metropolitan Museum of Art, New York.

Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising Sun, c. 1649. Oil on canvas. 97 x 119 cm. (38 x 46 ¾ in.). Hermitage Museum, St. Petersburg.

Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London.

Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, 1650s. Oil on canvas. 119 x 150 cm (46 ¾ x 59 in.). Louvre, Paris.

Claude Lorrain (French, c. 1600–1682). Landscape wirth Aeneas at Delos, c. 1672. Pen and brown ink and brown wash, with gray-brown wash. 19.3 x 25.6 cm. British Museum, London.

Claude Lorrain (French, c. 1600–1682). Landscape with Aeneas at Delos, 1672. Oil on canvas. 99.6 x 134.3 cm. National Gallery, London.

Claude Lorrain (French, c. 1600–1682). Index of owners of Claude's paintings in the Liber Veritatis. British Museum, London.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Holy Family, from the Liber Veritatis, 1776. Etching and aquatint. Sheet : 23 x 29.4 cm.; plate: 20.8 x 26.3 cm. Pushkin State Museum of Fine Arts, Moscow.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.

John Boydell (British, 1719–1804), publisher. Dedication from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.

James Mallord William Turner (British, 1775–1851). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching only (before first state). Plate: 7 x 10 in. (17.8 x 25.4 cm.); sheet: 8 1/8 x 25 in. (20.6 x 63.5 cm.). Metropolitan Museum of Art, New York.

James Mallord William Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching and mezzotint (first state of three). Plate: 7 1/16 x 10 1/4 in. (17.9 x 26 cm.); sheet: 8 1/4 x 11 7/16 in. (21 x 29.1 cm.). Metropolitan Museum of Art, New York.

Claude Glass. Science Museum, London.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 154 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 1 and 2 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 3 and 4 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.

Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 13 and 14 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.

Claude Mellan (French, 1598–1688). Moses Before the Burning Bush, 1663. Engraving. Sheet (trimmed to platemark): 9 7/16 x 13 3/16 in. (24 x 33.5 cm.). Metropolitan Museum of Art, New York.

Golden mean diagram, https://blog.artsper.com/en/a-closer-look/golden-ratio-in-art/.

In s3e31 of Platemark, host Ann Shafer speaks with Lothar Osterburg, artist, professor and leading expert on the fine art of photogravure. These are basically photographs transferred to copper plates and printed as etchings. (It's, of course, more complicated than that.) In this way, it is possible to get images to print with continuous tone, as opposed to half-tone, or stepped biting.

The results are luminous photographs printed with printer's ink. It's a result that cannot be achieved in any other way. Of course, one can manipulate the plate after etching the photographic image into it, adding drypoint, engraving, and even further etching. These hybridizations are intriguing, rare, and special. There are very few practitioners who are truly experts in it.

Lothar helps us understand the process, and we take a look at both his work as a master printer at Crown Point Press in the 1990s, and his own work in which he builds sculptures (often in miniature) and photographs them to create eerie scenes that recall the antique and conjure fantasy.

Episode image: Elizabeth Brown

Christian Boltanski (French, 1944–2021). Untitled, from the portfolio Gymnasium Chases, 1991. Portfolio of 24 photogravures. Plate: 461 x 319 mm. (18 1/8 x 12 9/16 in.); sheet: 592 x 419 mm. (23 5/16 x 16 ½ in.). National Gallery of Art, Washington, D.C.

John Baldessari (American, 1931–2020). Hand and Chin (with Entwined Hands), 1991. Photogravure with color spit bite aquatint. Plate: 24 x 14 in.; sheet: 33 x 22 in. Published by Crown Point Press.

Markus Raetz (German, 1941–2020). Reflexion, 1991. Set of three photogravures with aquatint. Plate (each): 19 x 26 in.; sheet (each) 36 x 42 in. Published by Crown Point Press.

Francis Bacon's studio at 7 Reece Mews, London, 1998. Photo: Perry Ogden. © Estate of Francis Bacon.

Lothar Osterburg (American, born Germany, 1961). Lunch Box Studio, 2022. Lunch Box, lens, paper, paint, LED lights. 10 ½ x 5 x 8 in.

Lothar Osterburg (American, born Germany, 1961). Gloomy Artist's Studio, 2022. Photogravure with surface roll. 11 x 11 in.

Lothar Osterburg (American, born Germany, 1961). The Tower of Babel, 2017. Wood, cardstock, and book pages. 7 x 7 x 28 feet. 2017. Installation at the Esther Massry Gallery, Albany, New York.

Ole Worm (Danish, 1588–1654). Frontispiece from Museum Wormianum seu Historia Rerum Rariorum. Amsterdam: 1655. Special Collections, University of Reading.

Lothar Osterburg (American, born Germany, 1961). Cabinet of Buttons, 2022. Wood, lens, Japanese, silk, buttons, metal, paper, and LED lights. 11 x 13 x 9 in.

Lothar Osterburg (American, born Germany, 1961). Cabinet of Buttons, 2023. Photogravure with surface roll. 11 x 11 in.

Rembrandt (Dutch, 1606–1669). St. Jerome in a Dark Chamber, 1642. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 6 × 6 15/16 in. (15.3 × 17.6 cm.). Metropolitan Museum of Art, New York.

Lothar Osterburg (American, born Germany, 1961). Portfolio Review, 2022. Wood, paper, glass, LED lights.

Lothar Osterburg (American, born Germany, 1961). Portfolio Review, 2023. Photogravure. 16 x 21 in.

Lothar Osterburg (American, born Germany, 1961). A Shakerbox Full of Chairs, 2022. Shaker box with lens, paper, LED lights. 11 x 8 x 5 in.

Lothar Osterburg (American, born Germany, 1961). A Room Full of Chairs, 2023. Photogravure with surface roll. 10 x 14 in.

Leo Zhao (American, born 1999). Printmaker's Aquarium, 2023. Various techniques. Sheet: 30 x 44 in.

Key to techniques used.

In this bonus episode, Platemark host Ann Shafer coaxed co-host Tru Ludwig into talking about being an artist and art historian, and how being a professor in both disciplines plays out. It's a fascinating confluence of ideas and passions in one person.

Fun fact: Käthe Kollwitz is Tru's patronus. Another fun fact, Käthe is pronounced Kay-tuh.

Tru's website: thepurplecrayonpress.com.

In Platemark s3e30, host Ann Shafer speaks with Ruth Fine, retired curator from the National Gallery of Art. Ruth was curator of modern prints and drawings there from 1980–2002, followed by an additional period working on special projects in modern art. Since her retirement in 2010, Ruth has been working on exhibition and writing projects, as well as sitting on the boards of the Roy Lichtenstein Foundation, the Helen Frankenthaler Foundation, and others.

As we are releasing this episode, Ruth has an exhibition up at the Phillips Collection featuring the photographic output of Frank Stewart. The show is up June 10–September 3, 2023.

Ruth is not only a consummate scholar, but also is an artist herself, bringing to her scholarship a deep understanding of making. She knew well many of the artists who were the subjects of her projects and she has wonderful stories to tell.

Join our new FB group to talk about prints, printmaking, and Platemark: https://www.facebook.com/groups/234857906002771

Episode image © Frank Stewart

Lessing Rosenwald's residence Alverthorpe in Jenkintown, PA, now houses the Abington Art Center.

The catalogue raisonné of the print workshop Gemini G.E.L. at the National Gallery of Art, Washington, D.C.

Mary Lee Corlett and Ruth Fine. The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948–1993. Washington D.C.: National Gallery of Art, 1994.

Ruth Fine and Robert Looney. The Prints of Benton Murdoch Spruance: A Catalogue Raisonné. Philadelphia: University of Pennsylvania Press, 1986.

David Bindman et al. Body Language: The Art of Larry Day. Exh cat. Woodmere Art Museum. Philadelphia: University of Pennsylvania Press, 2021.

Ruth Fine et al. Frank Stewart's Nexus: An American Photographer's Journey, 1960s to the Present. Exh cat. The Phillips Collection. New York: Rizzoli, 2023.

Helen Frankenthaler (American, 1928–2011). Untitled, 1967. Four-color screenprint. 25 3/4 x 17 7/8 in. (65.4 x 45.4 cm.). © 2023 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), NY / Chiron Press, NY.

Helen Frankenthaler (American, 1928–2011). Grove, 1991. Ten-color woodcut. 38 ½ x 25 ½ in. (97.8 x 64.8 cm.). © 2023 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), NY / Garner Tullis, NY.

Roy Lichtenstein (American, 1923–1997). Storming the Castle, 1950. Etching, aquatint, and engraving. Sheet: 16 ¼ x 22 ¾ in. (41.3 x 57.8 cm.); plate: 11 7/8 x 15 15/16 in. (30.2 x 40.5 cm.). © Estate of Roy Lichtenstein.

Roy Lichtenstein (American, 1923–1997). Published by Gemini G.E.L. The Student, from the series Expressionist Woodcut, 1980. Color woodcut with debossing. Sheet: 97.5 x 86 cm. (38 1/4 x 34 in.); image: 80.6 x 69.2 cm. (31 3/4 x 27 1/4 in.). © Estate of Roy Lichtenstein.

Frank Stewart (American, born 1949). Alma W. Thomas, 1976. Gelatin silver print. Bowdoin College Museum of Art, Brunswick, Maine, Museum Purchase, Gridley W. Tarbell II Fund. © Frank Stewart.

Frank Stewart (American, born 1949). The Bow, Modena, Italy, 1996. Inkjet print. Andre Kimo Stone Guess and Cheryl Peterson Guess Family Collection, Louisville, KY. © Frank Stewart.

Frank Stewart (American, born 1949). Tailor Shop, Abidjan, Cote d'Ivoire, 1974. Gelatin silver print. Sing Lathan and Bining Taylor. © Frank Stewart.

Frank Stewart (American, born 1949). Three Young Camels, Mali, 2006. George Nelson Preston, Museum of Art and Origins, New York. © Frank Stewart.

Frank Stewart (American, born 1949). Radio Players Series, 1978. Gelatin silver print. Sing Lathan and Bining Taylor. © Frank Stewart.

USEFUL LINKS:

Link to Frank Stewart exhibition at the Phillips Collection: https://www.phillipscollection.org/event/2023-06-10-frank-stewarts-nexus

YouTube video with Ruth Fine and TK Smith in the exhibition The Art of Larry Day: https://youtu.be/Ao6Rgn6jhok

YouTube video of Ruth Fine's talk on Larry Day at the Woodmere Art Museum: https://youtu.be/MamE6rbOuMg

In Platemark s3e29, host Ann Shafer speaks with April Vollmer, an artist working in mokuhanga (Japanese color woodblock printing), who also wrote the indispensable guide to that form: Japanese Woodblock Print Workshop (Berkeley: Watson-Guptill Publications, 2015).

What's mokuhanga, you ask? It's a method developed in Japan that was used to print images that are probably familiar to you, like Hokusai's Great Wave. It allows artists to work with water-based inks (more environmentally friendly) on multiple blocks to build up images, which are printed by hand using a flat paddle called a baren. Each color is carried on a separately carved block and is layered during printing. It means a lot of carving, but it also means one doesn't need a press, chemicals, or a ton of equipment. In other words, it can be done at home in your kitchen.

The range of work made possible in mokuhanga is impressive. Once used for ukiyo-e prints (pictures of the floating world) in the Edo period, now contemporary artists from the world over are experimenting with its possibilities. Including April Vollmer.

Episode image: Portia Shao

Shiko Munakata (Japanese, 1903–1975). Night Birds (the fence of…), c. 1967. Sumizuri-e. 19.1 x 29.3 cm. Scholten Japanese Art, New York.

April Vollmer in her studio.

April Vollmer's studio.

Yasu Shibata (Japanese, born 1968). 6 White Squares, 2014. Set of six mokuhanga prints. Sheet (each): 11 x 11 in. Aspinwall Editions, Hudson.

Tetsuya Noda (Japanese, born 1940). Diary: April 24th '97, 1997. Woodblock and screenprint. Sheet: 74.1 x 52.8 cm. British Museum, London.

Keiko Hara (Japanese, born 1942). Published by Lily Press. Verse Space—Light of Black Hole, Monotype with collaged mokuhanga woodblock print. Sheet: 30 x 26 in.

Rebecca Salter (British, born 1955). Into the Light II, 2011. Woodblock on Japanese paper. 60 x 90 cm. (23 ½ x 35 ½ in.).

Utagawa Kuniyoshi (Japanese, 1797–1861). Earth Spider Attacking Raiko, c. 1820. Color woodblock print. 14 5/8 x 29 5/8 in. Fuji Arts, Ann Arbor.

April Vollmer (American, born 1951). Generation, 2002. Mokuhanga on washi. Sheet: 26 x 26 in.

Beyshehir Seljuk rug, 13th century Turkey. Found in the Eshrefoglu Mosque in Beyshehir in 1929 by R.M. Riefshahl. Now in the Konya Museum of Ethnography, Konya, Turkey.

April Vollmer (American, born 1951). Blackout, 2013. Mokuhanga on Gozen washi. Sheet: 38 x 26 in.

April Vollmer (American, born 1951). Eye Cup (Counterfeit), 2008. Mokuhanga and rubber stamp on washi. Sheet: 26 x 11 in.

April Vollmer (American, born 1951). Secret Flower, 2006. Mokuhanga. Sheet: 15 ½ x 15 ½ in.

April Vollmer (American, born 1951). Migrating Gyre, 2008. Mokuhanga. Sheet: 26 x 26 in.

April Vollmer (American, born 1951), printed by Art Print Residence and published by California Society of Printmakers. Great Egret Hunting, from the portfolio Birds on the Edge, 2021. Photo-etching. Sheet: 19 ½ x 15 in.

USEFUL LINKS

April's website: https://www.aprilvollmer.com/

Mokuhanga resources: https://www.aprilvollmer.com/category/mokuhanga-resources/

April's Facebook: https://www.facebook.com/april.vollmer

April's Instagram: https://www.instagram.com/aprilvollmer_artist/

April Vollmer. Japanese Woodblock Print Workshop: A Modern Guide to the Ancient Art of Mokuhanga. New York: Penguin Random House, 2015. https://www.penguinrandomhouse.com/books/231579/japanese-woodblock-print-workshop-by-april-vollmer/

April Vollmer. "Birds on the Edge: Collaboration and Change." The California Printmaker: The Journal of the California Society of Printmakers. (2023 Changing Gears Edition) April 2023. https://www.aprilvollmer.com/wp-content/uploads/2023/04/CSP-Birds-on-the-Edge-Vollmer.pdf

Nature in the Floating World: Images of Nature in Japanese and Chinese Art. Ulrich Museum of Art, Wichita State University. January 26–May 10, 2023. https://ulrich.wichita.edu/ulrich_exhibition/nature-in-the-floating-world-images-of-nature-in-japanese-and-chinese-art-from-the-ulrich-collection/

International Mokuhanga Conference website https://2021.mokuhanga.org/

International Mokuhanga Conference YouTube channel https://www.youtube.com/channel/UCthTUa5XbGaZsaFf_vDeosg

Tuula Moilanen, Kari Laitinen, and Antti Tantuu. The Art and Craft of Woodblock Printmaking. Helsinki: Aalto ARTS Books, 2013. https://www.amazon.com/Art-Craft-Woodblock-Printmaking-Watercolour/dp/B01FIWQXL4

Frogman's Workshop http://frogmans.net/#workshops

Anderson Ranch https://www.andersonranch.org/

Kentler International Drawing Space, Red Hook https://kentlergallery.org/

11 Women of Spirit Part 7. Salon Zürcher, New York. May 15–21, 2023. https://www.galeriezurcher.com/salon-zrcher-28th-edition-11-women-of-spirit-part-7-may-15-21

In s3e28, Platemark host Ann Shafer speaks with Linda Hults, retired professor of art history from the College of Wooster, Wooster, Ohio. Linda wrote THE textbook on the history of Western prints, which any student of the topic will undoubtedly still have on their shelves. At nearly 1,000 pages, the book offers up more than 800 illustrations and covers print history from Gutenberg through the early 1980s. It also includes incredibly thorough notes, bibliography, glossary, and index. It is indispensable.

Since retirement, Linda continues to contribute to the field essays and articles ranging in subjects from the devil and witchcraft to masculinity.

Episode image by Linda Hults.

Parmigianino (Italian, 1503–1540). Madonna and Child with Angels (Madonna with the Long Neck), c. 1534–40. Oil on panel. 216.5 x 132.5 cm. Uffizi Gallery, Florence.

Johannes Vermeer (Dutch, 1632–1675). Woman Writing a Letter, with her Maid, c. 1670. Oil on canvas. 71.1 x 60.5 cm. National gallery of Ireland, Dublin.

Hendrick Goltzius (Dutch, 1558–1617). The Great Hercules, 1589. Engraving. Sheet (trimmed to platemark): 21 7/8 x 15 7/8 in. (555 x 404 mm.). Metropolitan Museum of Art, New York.

Thomas Rowlandson (British, 1557–1827). The Devil's Darling, March 12, 1814. Etching with hand coloring. Plate: 13 3/4 × 9 3/4 in. (34.9 × 24.8 cm.); sheet: 14 3/4 × 10 7/16 in. (37.4 × 26.5 cm.). Metropolitan Museum of Art, New York.

Félicien Rops (Belgian, 1833–1898). The Sacrifice, drawing for Plate 1 of Les Sataniques, c. 1882. Tempera, colored pencil, black crayon, gouache, and gold on Pellée paper. 30 x 19.1 cm. (11 3/4 x 7 1/2 in.). Galerie Patrick Derom, Brussels (sold).

Frans Francken the Younger (Flemish, 1581–1642). Witches' Sabbath, 1606. Oil on oak panel. 62 x 51 cm. Victoria and Albert Museum, London.

Salvator Rosa (Italian, 1615–1673). Scenes of Witchcraft: Day, c. 1645–49. Oil on canvas. 54.5 cm. (21 7/16 in.) The Cleveland Museum of Art, Cleveland.

Hieronymus Bosch (Netherlandish, 1450–1516). The Garden of Earthly Delights, 1490–1500. Oil on wood (triptych). Overall: 328.2 x 185.8 cm. Museo del Prado, Madrid.

Albrecht Dürer (German, 1471–1528). The Fall of Man or Adam and Eve, 1504. Engraving. 25.1 x 20 cm (9 7/8 x 7 7/8 in). Metropolitan Museum of Art, New York.

Édouard Manet (French, 1832–1883). Le Déjenuer sur l'herbe, 1863. Oil on canvas. 208 x 264.5 cm. Musée d'Orsay. Paris.

USEFUL LINKS

Linda C. Hults. The Print in the Western World: An Introductory History. Madison. University of Wisconsin Press, 1996.

Hyatt Mayor. Prints and People: A Social History of Printed Pictures. New York: Metropolitan Museum of Art, 1971.

Arthur M. Hind. A History of Engraving and Etching from the 15th Century to the Year 1914. London: Constable and Company Ltd., 1923. (Available from Dover Publications in a 3rd edition, 1963.)

William M. Ivins, Jr. Prints and Visual Communication. Boston, The MIT Press, 1969.

Linda C. Hults. "Van Mander's Protean Artist: Hendrick Goltzius, Mythic Masculinity and Embodiment." Art History, Vol. 44, No. 2 (April 2021), pp. 372–402.

James Watrous. A Century of American Printmaking: 1880–1980. Madison: University of Wisconsin Press, 1984.

Per Faxneld. Satanic Feminism: Lucifer as the Liberator of Woman in Nineteenth-Century Culture. Oxford: Oxford University Press, 2017.

Linda C. Hults. The Witch as Muse: Art, Gender, and Power in Early Modern Europe. Philadelphia: University of Pennsylvania Press, 2011.

Laurinda S. Dixon. Alchemical Imagery in Bosch's Garden of Delights. Ann Arbor: University of Michigan Research Press, 1981.

Todd W. Reeser. Masculinities in Theory: An Introduction. 2nd edition. Hoboken: Wiley-Blackwell Press, 2023.

Jun Nakamura. Macho Men: Hypermasculinity in Dutch & American Prints. Philadelphia Museum of Art, August 27, 2022–March 20, 2023.

In Platemark s3e27, host Ann Shafer talks with Emma Nishimura, an artist and professor based in Toronto. Emma works in printmaking, photography, sculpture, and installation. Her work addresses ideas of inherited memory and trauma with a specific focus on the experiences her family and thousands of other Japanese Canadians endured during and following their forced incarceration during the Second World War.

Episode image: Ann Gaby-Trotz.

Emma Nishimura (Canadian, born 1982). Blending In, 2008. Photogravure and thread. 14 x 14 x 1 in. Courtesy of the artist.

Emma Nishimura (Canadian, born 1982). Kay age 17, 1937, 2017. Photoetching on flax and abaca. 3 x 3 x 2.5. Courtesy of the artist.

Furoshiki forms.

Three furoshiki forms from Rememory project on a shelf.

[INSTALLATION VIEW] Emma Nishimura: Rememory: Echoes and Archives. United Contemporary, Toronto. March 30–May 6, 2023.

Emma Nishimura (Canadian, born 1982). Keo Shibatani, 2018. Etching and hand painting on gampi with wax. Sheet: 17 x 22 in. Courtesy of the artist.

[DETAIL] Emma Nishimura (Canadian, born 1982). Keo Shibatani, 2018. Etching and hand painting on gampi with wax. Sheet: 17 x 22 in. Courtesy of the artist.

[INSTALLATION VIEW] Emma Nishimura (Canadian, born 1982). Constructed Narratives. Japanese Canadian Cultural Centre, Toronto, ON. 2015. Courtesy of the artist.

Emma Nishimura (Canadian, born 1982). Revelstoke, 2013. Etching on gampi with wax and thread. Sheet: 15 ½ x 9 ½ in. Courtesy of the artist.

[DETAIL] Emma Nishimura (Canadian, born 1982). Revelstoke, 2013. Etching on gampi with wax and thread. Sheet: 15 ½ x 9 ½ in. Courtesy of the artist.

Emma Nishimura (Canadian, born 1982). Slocan Lake, 2013. Etching on gampi with wax and thread. 25 ½ x 15 in. Courtesy of the artist.

[DETAIL] Emma Nishimura (Canadian, born 1982). Slocan Lake, 2013. Etching on gampi with wax and thread. 25 ½ x 15 in. Courtesy of the artist.

Michael Waugh (American, born 1967). Citizens United, 2020. Pen and black ink on Mylar. 45 x 69 in. (114.3 x 175.3 cm.). Courtesy Von Lintel Gallery.

[DETAIL] Michael Waugh (American, born 1967). Citizens United, 2020. Pen and black ink on Mylar. 45 x 69 in. (114.3 x 175.3 cm.). Courtesy Von Lintel Gallery.

Emma Nishimura (Canadian, born 1982). Printed by Atelje Larsen, Helsingborg, Sweden. Generational Echoes IV, 2019. Photoetching on Hahnemuhle paper. Sheet: 23 x 28 in. Courtesy of the artist.

Zarina (American, born India, 1937–2020). Atlas of My World (Six Works), 2001. Portfolio of 6 woodcuts. Sheet (each): 25 ½ x 19 ½ in. (64.8 x 49.5 cm.). Metropolitan Museum of Art, New York.

USEFUL LINKS

Emma's website: https://www.emmanishimura.com/

Emma's Instagram: @emma.nishimura

Atelje Larsen: https://www.ateljelarsen.com/

Paper Borders: Emma Nishimura and Tahir Carl Karmall. Print Center New York. October 10–December 18, 2019. https://www.printcenternewyork.org/paperborders

Emma Nishimura: Rememory: Echoes and Archives. United Contemporary, Toronto. March 30–May 6, 2023. https://www.unitedcontemporary.com/exhibitions/55-emma-nishimura-rememory-echoes-and-archives/

Platemark s3e26's guest is Jennifer Mack-Watkins, an artist and children's book illustrator based in Savannah, GA. Her work looks at social conformities that limit us and box us in, whether beauty, relationships, body image, power, or gender roles. Her work often features young African-American children playing, celebrating their innocence and freedom, as well as imagination. Jennifer recently illustrated a children's book called You Gotta Meet Mr. Pierce! and she is currently on a book tour. The process of how the book came together with two authors (Chiquita Mullins Lee and Carmella Van Vleet) and an illustrator (Mack-Watkins) is fascinating.

Episode photo by Miranda Barnes.

Jennifer Mack-Watkins (American, born 1979). Published by Jungle Press, Brooklyn. Black Boy Hope I, 2020. Color lithograph. Sheet: 29 x 21 ½ in.

| Jennifer Mack-Watkins (American, born 1979). Published by Jungle Press, Brooklyn. Black Boy Hope II, 2020. Color lithograph. Sheet: 29 x 21 ½ in.

Jennifer Mack-Watkins (American, born 1979). Published by Jungle Press, Brooklyn. Space Boy, 2022. Color lithograph. Sheet: 26 x 19 in.

Jennifer Mack-Watkins (American, born 1979). Published by Jungle Press, Brooklyn. Space Girl, 2022. Color lithograph. Sheet: 26 x 19 in.

Jennifer Mack-Watkins signing Space Girl at Jungle Press, Brooklyn.

Penland School of Craft: https://penland.org/

Jackie Winsor (Canadian, born 1941). #1 Rope, 1976. Wood and hemp. 40 1/4 × 40 × 40 in. (102.2 × 101.6 × 101.6 cm.). San Francisco Museum of Modern Art, San Francisco.

Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023.

Title page from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023.

Spread from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023.

Spread from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023.

Spread from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023.

Spread from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023.

Spread from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023.

Jennifer Mack-Watkins reading to children at Woodrow Wilson Elementary School, New Brunswick, NJ, 2023.

Installation view of Children of the Sun, a solo exhibition by Jennifer Mack-Watkins at Brattleboro Museum and Art Center, Brattleboro, VT, 2021. Photo by Erin Jenkins.

Installation view of Children of the Sun, a solo exhibition by Jennifer Mack-Watkins at Brattleboro Museum and Art Center, Brattleboro, VT, 2021. Photo by Erin Jenkins.

Installation view of Children of the Sun, a solo exhibition by Jennifer Mack-Watkins at Brattleboro Museum and Art Center, Brattleboro, VT, 2021. Photo by Erin Jenkins.

Jennifer Mack-Watkins in the exhibition curated by Nicole Simpson at the Zimmerli Museum, Rutgers University, New Brunswick, NJ, 2023.

Jennifer Mack-Watkins in the exhibition at Sulfur Studios, Savannah, 2023.

April Vollmer. Japanese Woodblock Print Workshop: A Modern Guide to the Ancient Art of Mokuhanga. New York: Penguin Random House, 2015.

Jennifer Mack-Watkins, Chakaia Booker, and Laura Einstein at The Gallery at The Met Store.

Sun Ra's 1974 film, Space is the Place.

Jennifer Mack-Watkins (American, born 1979). Future Undetermined, from the portfolio Continuum by Black Women of Print, 2019. Color woodblock (mokuhanga) and screenprint. Sheet: 11 x 15 (27.9 x 38.1 cm.). Metropolitan Museum of Art, New York.

Installation shot, Alternate Realities, curated by Ann Shafer at the Baltimore Museum of Art, September 21, 2014–April 12, 2015.

USEFUL LINKS

Jennifer's website: www.jennifermwatkins.com

Jennifer's Instagram accounts: @mack_jenniferprints and @mwatkins_jenniferillustrate

RECENT PRESS COVERAGE

Jennifer Mack-Watkins: Creating a future without limitations for children of the sun – Connect Savannah, May 2, 2023.

Inspired By Vermonter's 1890s Poem, Artist Celebrates Positive Black Representation – VPR, April 3, 2021.

11 Must-See Black Art Exhibitions Opening This Spring – Essence, March 24, 2021.

9 Art Exhibitions Worth Masking Up for This Spring – Vogue, March 19, 2021.

Celebrating Black Children in America – The New York Times, March 8, 2021.

MORE USEFUL LINKS (those discussed in the episode)

Janson's History of Art textbook: https://www.abebooks.com/servlet/BookDetailsPL?bi=31225288586&ref_=ps_ggl_11147913055&cm_mmc=ggl-_-US_Shopp_Textbook-_-product_id=COM9780131934559USED-_-keyword=&gclid=EAIaIQobChMI_dv0qOr6_gIVPvvjBx0J7wGaEAQYAiABEgI-PfD_BwE

Linda Nochlin and Ann S. Harris' book on women artists: https://www.abebooks.com/servlet/BookDetailsPL?bi=31346916547&searchurl=kn%3Dwomen%2Bartists%2B1550%26sortby%3D17&cm_sp=snippet-_-srp1-_-image2

You Gotta Meet Mr. Pierce!: https://www.penguinrandomhouse.com/books/675828/you-gotta-meet-mr-pierce-by-chiquita-mullins-lee-and-carmella-van-vleet-illustrated-by-jennifer-mack-watkins/

Carolyn Allport's documentary, Elijah Pierce: Wood Carver, 1974: https://www.folkstreams.net/films/elijah-pierce

Carolyn Allport's documentary, Elijah Pierce Sermons in Wood, 1980: https://www.folkstreams.net/films/elijah-pierce-sermons-in-wood

Barnes Foundation exhibition, Elijah Pierce's America, September 27, 2020–January 18, 2021: https://www.barnesfoundation.org/whats-on/exhibition/elijah-pierces-america

Paper Circle residency: https://papercircle.org/resident-artists/

Black Trustee Alliance: https://blacktrusteealliance.org/

Ann's blog post on the Baltimore Museum exhibition Alternate Realities, 2014: https://www.annshafer.com/annshaferblog/category/alternate-realities

Platemark s3e25's guest is Michael Barnes, an artist and professor at Northern Illinois University who specializes in lithography. In addition to deep knowledge of how lithography works, Michael is also an historian of the technique and a collector.

Michael's prints are set in strange desolate lands and feature figures engaged in absurd tasks. While these surreal visions come straight from the artist's imagination, workers trapped in a farcical dystopian future is something to which we can all relate. Michael's spot-on compositions and consummate draftsmanship make these odd circumstances and their cognitive dissonance crystal clear.

Ann was extra interested in talking with Michael because he, obviously, knows what he's doing with lithography and she hoped to get an in-depth explanation of the process. In addition, he also is an historian of the technique and a collector as well. Settle back and enjoy the conversation as they geek out about all things litho.

Franz Hanfstaengl (German, 1804–1877). Portrait of Alois Senefelder, 1834. Lithograph.

Mozart Sheet Music

Bolton Brown (American, 1834–1936). Recipes from his Lithography for Artists manual, 1930.

June Wayne (American, 1918–2011) at Tamarind Lithography Workshop, c. 1960. (Center for Southwest Research, University Libraries, University of New Mexico)

Wayne Kimball (American, born 1943). Marble Chair, 1973. Lithograph. Image: 6 ½ x 9 in. Madison Museum of Contemporary Art, Madison.

Max Beckmann (German, 1884–1950). Throwing Dice before the Cross, from the series Six Lithographs to the New Testament, 1911. Lithograph. Image: 11 9/16 x 9 7/16 in. (29.4 x 24 cm.); sheet: 22 11/16 x 16 5/16 in. (57.7 x 41.5 cm.). Museum of Modern Art, New York.

Georges Rouault (French, 1871–1958). Charles Baudelaire, 1926. Lithograph. Image: 8 ¼ x 6 3/8 in.; sheet: 10 ¾ x 6 ¾ in. Davidson Galleries, Seattle.

Eugène Delacroix (French, 17987–10863). Mephistopheles, from Goethe's Faust. Paris: Charles Motte, 1928. Lithograph. Sheet: 16 13/16 x 18 5/8 in. Metropolitan Museum of Art, New York.

David Becker (American, born 1937). Crosspaths, 1984. Etching and aquatint. Sheet: 22 1/4 × 29 3/4 in. (56.5 × 75.6 cm.); plate: 12 3/4 × 18 3/4 in. (32.4 × 47.7 cm.). Metropolitan Museum of Art, New York.

Evan Summer (American, born 1948). Landscape XXXIV, 1998. Etching, aquatint, engraving, and drypoint. Sheet: 79.59 × 66.99 cm. (31 5/16 × 26 3/8 in.); plate: 69.53 × 59.06 cm. (27 3/8 × 23 1/4 in.). National Gallery of Art, Washington, D.C.

Diane Victor (South African, born 1964). Printed by Bandolier Press, University of Northern Illinois. The Awakening, 2018. Lithograph. Sheet: 76.5 x 112.5 cm. (30 1/8 x 44 3/8 in.). Mutual Art.

Josef Budka (Polish, born 1953). The Cloud, from the series Dream, 1985. Lithograph. 50 x 70 cm. Courtesy the artist.

Ericka Walker (American, born 1941). Overly Optimistic, 2022. Lithograph. Sheet: 38 x 22 in. Courtesy the artist.

Tom Huck (American, born 1971). Classic American Head Job, 1998. Woodcut. 20 x 24 in. Courtesy the artist.

Old Milwaukee beer labels on lithograph stone in Michael Barnes' studio.

Edouard Manet (French, 1832–1883), published by Lemercier et Cie. Civil War, 1871–73. Lithograph on chine collé. Image: 15 5/8 × 20 in. (39.7 × 50.8 cm.); sheet: 19 1/8 × 24 3/4 in. (48.6 × 62.9 cm.). Metropolitan Museum of Art, New York.

Michael Barnes (American, born 1969). Some Things are Best Forgotten, from the series Steindruck München, 2020. Lithograph. Image: 20 × 17 in. (50.8 × 43.2 cm.); sheet: 22 1/2 × 19 1/2 in. (57.2 × 49.5 cm.). Courtesy the artist.

Michael Barnes (American, born 1969). Breaking of Stones, from the series Steindruck München, 2020. Lithograph. Image: 17 x 19 ½ in.; sheet: 19 ½ x 22 in. Courtesy the artist.

Rodolphe Bresdin (French, 1822–1885). The Good Samaritan, 1861. Lithograph on chine collé. Image: 22 3/16 x 17 3/8 in. (56.4 x 44.2 cm.); sheet: 27 15/16 x 22 1/16 in. (71 x 56 cm.). Museum of Modern Art, New York.

Rodolphe Bresdin (French, 1822–1885). The Good Samaritan, 1861. Lithograph. Image: 22 1/4 x 17 1/4 in. (56.5 x 43.8 cm.). Sterling and Francine Clark Art Institute, Williamstown.

[DETAIL without bird] Rodolphe Bresdin (French, 1822–1885). The Good Samaritan, 1861. Lithograph. Image: 22 1/4 x 17 1/4 in. (56.5 x 43.8 cm.). Sterling and Francine Clark Art Institute, Williamstown.

[DETAIL with bird] Rodolphe Bresdin (French, 1822–1885). The Good Samaritan, 1861. Lithograph on chine collé. Image: 22 3/16 x 17 3/8 in. (56.4 x 44.2 cm.); sheet: 27 15/16 x 22 1/16 in. (71 x 56 cm.). Museum of Modern Art, New York.

Robert Rauschenberg (American, 1925–2008). Published by Universal Limited Art Editions; printed by Robert Blackburn. Accident, 1963. Lithograph. 41 1/4 x 29 1/2 inches (104.8 x 74.9 cm). Robert Rauschenberg Foundation.

Carl Straub (German, active 1840s), artist; Franz Hanfstängl (German, 1804–1877), publisher; after a painting by Franz Snyders (Flemish, 1579–1657). Bear Hunt (Baerenhatze), from the series Königliche Gemäldegalerie in Dresden, 1835–40. Lithograph on chine collé. Image: 375 x 498 mm.

Gustave Doré (French, 1832–1883). The Holy Bible with Illustrations. London: Cassel, Petter, and Galpin, 1866.

Michael Barnes' stone on the press for Battle Scene, 2023. Lithograph.

The big reveal: Michael Barnes (American, born 1969). Battle Scene, 2023. Lithograph.

Michael Barnes (American, born 1969). Battle Scene, 2023. Lithograph stone.

Michael Barnes (American, born 1969). Battle Scene, 2023. Lithograph. Image: 19 x 24 in. Courtesy the artist.

Antonio Pollaiuolo (Italian, c. 1432–1498). Battle of the Ten Nude Men, c. 1490. Engraving. Sheet (trimmed within platemark): 384 x 589 mm. (15 1/8 x 23 3/16 in.). Metropolitan Museum of Art, New York.

George Bellows (American, 1882–1925). Splinter Beach, 1916. Lithograph. Sheet: 16 5/8 × 21in. (42.2 × 53.3 cm.); image: 15 × 19 7/8 in. (38.1 × 50.5 cm.). Whitney Museum of American Art, New York.

George Bellows (American, 1882–1925). Billy Sunday, 1923. Lithograph. Sheet: 40 × 55.9 cm. (15 3/4 × 22 in.). National Portrait Gallery, Smithsonian Institution, Washington, D.C.

Robert Riggs (American, 1896–1970). On Stage Four, c. 1934. Lithograph. Image: 14 ¾ x 18 7/8 in. Woodmere Art Museum, Philadelphia.

Robert Riggs (American, 1896–1970). Commissioned by Smith, Kline and French Laboratories, Philadelphia. Children's Ward, c. 1940. Lithograph. Image: 14 1/4 x 19 in. (36.2 x 48.3 cm.); sheet: 17 3/8 x 23 in. (44.1 x 58.4 cm.). Philadelphia Museum of Art, Philadelphia.

Robert Riggs (American, 1896–1970). Commissioned by Smith, Kline and French Laboratories, Philadelphia. Accident Ward, c. 1940. Lithograph. Image: 14 3/8 x 19 in. (36.5 x 48.3 cm.); sheet: 17 1/2 x 23 3/4 in. (44.4 x 60.3 cm.). Philadelphia Museum of Art, Philadelphia.

James Ehlers (American, born 1976). Tweet Tweet Boom, 2018. Engraving. Courtesy the artist.

Sean Starwars (American, born 1969). Blue Skull, 2022. Color woodcut. Sheet: 15 x 20 in. Courtesy the artist.

Bill Fick (American, born 1963). It Keeps Going, 1994. Lithograph. Courtesy the artist.

USEFUL LINKS:

Michael Barnes' website: http://michaelbarnes.us/

Saint Louis Art Museum: https://www.slam.org/collection/objects/?show_on_view=false&featured_objects=false&se=Michael%20Barnes

Takach Press: https://www.takachpress.com/

Korn's litho crayons: https://shop.takachpress.com/korns-lithographic-crayon/

Stones Crayons: https://www.graphicchemical.com/shopdisplayproducts.asp?id=148&cat=STONES+CRAYONS+%26+PENCILS

T-Bar Ranch Litho Pencils: https://ericwilson.us/shop/ols/categories/t-bar-ranch-litho-crayons

Crayola Crayon maker: https://www.crayola.com/splash/products/crayonfactory

Trilobite Workshop: https://trilobiteworkshop.com/

Bandolier Press: https://www.instagram.com/bandolierpress/?hl=en

Brumfield Gallery: https://www.brumfieldgallery.com/artist/michael-barnes

Steindruck München: https://www.kuenstlerhaus-muc.de/programm/lithografiewerkstatt/