A solid introduction to the history of American prints, and a celebration of the unprecedented range of the National Gallery’s collection
Nearly 200 American prints, representing more than 100 artists, and dating from the colonial era to the present day, are brought together in this unprecedented volume from the National Gallery of Art to commemorate its collection and recent acquisitions. The artists featured range from Paul Revere through James McNeil Whistler, Mary Cassatt, Winslow Homer, Louise Nevelson, Romare Bearden, Andy Warhol, Robert Rauschenberg, Chuck Close, and Kara Walker. The works date from essentially every period in American history, so major art and historical themes running through the collection are readily visible. Lending context, twelve contributing authors discuss the varied themes in American art. Biographies of the artists and a glossary of printmaking terms are also featured.
Since its founding in 1941, the National Gallery of Art has assiduously collected American prints with the help of many generous donors. The Gallery’s American print collection has grown from nearly 1,900 prints in 1950 to more than 22,500 prints today. The collection was recently transformed by the acquisition of an extraordinary group of 5,200 American prints brought together by Reba and Dave Williams. 235 illustrations

Three Centuries of American Prints

Arts & Photography

Brodie, Judith

Johnston, Amy

Lewis, Michael J.

History & Criticism

Thames&Hudson

The question of 'finish' in the artistic endeavour has been regarded with increasing fascination since the Renaissance. In the graphic arts this question has involved what it means to achieve aesthetic resolution in printmaking. The Unfinished Print investigates for the first time the history of finish and unfinish in printmaking from the fifteenth to the early twentieth century.

The Unfinished Print

Sell, Stacey

Parshall, Peter W.

Brodie, Judity

Graphic Design

Lund Humphries

Drawings from the O'Neal Collection

Grasselli, Margaret Morgan

Natl Gallery of Art

The exhibition held at the National Gallery of Art, Washington, DC, June-October 2001, tapped into the National Gallery's rich collection of prints, in particular the unusual impressions and working proofs, to examine unfinished works of art over the course of four centuries how to evaluate them and how to learn from them. The checklist of the exhibition is preceded by three essays: Peter Parshall (curator, old master prints, National Gallery of Art) on the problem of resolution in printmaking; Parshall's associate, Judith Brodie, on the metamorphosis of Jacques Villon's La Parisienne ; and Parshall's assistant, Stacey Sell, on Rembrandt's sketch plates. The book is co-published with Lund Humphries. Annotation c. Book News, Inc., Portland, OR (booknews.com)

National Gallery of Art (U.S.)

Jim Dine is a consummate draftsman whose images of tools, large-scale nudes, self-portraits, and studies from nature and after antiquity are among the most accomplished and beautiful drawings of our time. This exhibition, the first major survey of Dine's drawings in 15 years, will feature over 100 of the finest examples from the 1970s to the present. During the 1960s, Dine's name was inextricably linked with Pop art. But he made a dramatic shift during the 1970s, devoting himself to drawing from life. Drawings of Jim Dine examines the artist's accomplishment by focusing not only on works on paper but also on drawings in a purer sense: ones that largely incorporate line and rely heavily on materials such as pencil, chalk, and charcoal. Although many examples in the exhibition deviate from this standard, the emphasis is on works that demonstrate the artist's skills as a draftsman and underscore his traditional underpinnings, even as he breaks new ground. Today, drawing remains at the core of Dine's range of expression. Through a restricted assortment of obsessive images, which continue to be reinvented in various guises--birds, Pinocchio, and others--Dine presents compelling stand-ins for himself and mysterious metaphors for his art. Since the last major survey of Dine's drawings, the medium has served as an indispensable component of his creative endeavor, in many ways representing the essence of his artistic achievement.

The Drawings of Jim Dine

DINE, Jim

In the early 20th century, visual artists began to think of the newspaper as the basis for verbal and visual puns, as a source of found language and images, as a means to mark time and place or express political criticism. Shock of the News - its title playing on that of Robert Hughes’ popular BBC television series and book The Shock of the New (1980) - traces the newspaper’s impact on modern art from 1909 to 2009.

Shock of the News

Boxer, Sarah

Poggi, Christine

Mileaf, Janine

Witkovsky, Matthew S.

Jim Dine is a consummate draftsman whose images of tools, large-scale nudes, self-portraits, and studies from nature and after antiquity are among the most accomplished and beautiful drawings of our time. This exhibition, the first major survey of Dine's drawings in 15 years, will feature over 100 of the finest examples from the 1970s to the present. During the 1960s, Dine's name was inextricably linked with Pop art. But he made a dramatic shift during the 1970s, devoting himself to drawing from life. Drawings of Jim Dine examines the artist's accomplishment by focusing not only on works on paper but also on drawings in a purer sense: ones that largely incorporate line and rely heavily on materials such as pencil, chalk, and charcoal. Although many examples in the exhibition deviate from this standard, the emphasis is on works that demonstrate the artist's skills as a draftsman and underscore his traditional underpinnings, even as he breaks new ground. Today, drawing remains at the core of Dine's range of expression. Through a restricted assortment of obsessive images, which continue to be reinvented in various guises--birds, Pinocchio, and others--Dine presents compelling stand-ins for himself and mysterious metaphors for his art. Since the last major survey of Dine's drawings, the medium has served as an indispensable component of his creative endeavor, in many ways representing the essence of his artistic achievement.

Drawings Of Jim Dine

Powell, Earl

Steidl/National Gallery of Art, Washington

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