How the museum print collection grew: Transcript of a lecture, November 26, 1989

McKenna, George L.

Nelson-Atkins Museum of Art

This book is the second in a series of catalogues devoted to documenting the permanent collections in The Nelson-Atkins Museum of Art, Kansas City, Missouri. In this volume on ink-printed graphics, more than six thousand examples are cited, ranging from the 15th to the 20th century. Included are works by many of the leading print-makers of the Western world, some of the impressions being unique and others exceedingly rare. From the dawn of printing is a group of thirty-two hand-colored woodcuts by unknown German artists, one of the most intact engravings of The Last Supper by the Dutch Master I.A.M. of Zwolle, and both states of Mantegna's Battle of the Sea Gods (Right Half). Among 16th century works are one of the finest known impressions of Durer's St. Jerome in His Study, a unique hand-colored engraving by the Flemish Master S, a singular engraving by Girolamo Mocetto, and chiaroscuro woodcuts by Ugo da Carpi, Agostino Veneziano, and Hendrick Goltzius. Notably representative of the 17th century are a number of Rembrandt's etchings, a splendid impression of Bellange's Martyrdom of St. Lucy, Hollar's Four Seasons, and mezzotints by Blooteling and Dusart. Among distinguished works of the 18th century are a first-edition set of Goya's Caprichos, Descourtis's two finest color intaglios, and etchings of 1748 by Piranesi, as well as a twenty-three-volume bound set of the first Paris edition of all of his antiquarian prints, his sons' additions, and works by their associates. Of the 19th century are Dr. Thornton's Temple of Flora series, Goya's Disasters of War, a superb impression of a Pissarro intaglio, and a unique annotated proof in the complete hand-colored set of Daumier's lithographed Les Cent Robert Macaire. Remarkable among 20th century holdings are proofs of Feininger's Green Bridge and Villon's Red Umbrella, famous posters by Bakst and Thorn Prikker, striking etchings by Nolde, an early lithograph and a monumental acquatint by Picasso, and Lichtenstein's Modern Head series in several media. Each of one hundred numbered entries written by George L. McKenna discusses a single print, several impressions, or portions of series. Information on the date, size, state, signature, inscriptions, catalogue raisonne numbers, watermark, provenance, and exhibition and publication history of each print precedes the extended text. That text, in essay form, presents relevant biographical detail, analysis of imagery, description of style, and germane critical comment footnoted with reference to publications cited in the bibliography at the end of the book. Depending upon the appearance of the original prints, illustrations are in full color or black and white in facsimile or reduced scale. Following the one hundred entries is a list of some six thousand other prints in the collection, arranged alphabetically according to nationality, medium, and artist. The title, date, measurements, catalogue raisonne and accession numbers of every print are specified, as well as the names of the donors of gifts. Two hundred and ninety of the prints are reproduced in small black and white plates in close proximity to their locations in the list. In addition, George L. McKenna has written an introduction which recounts how the print collection has been formed through the years, beginning with the first purchases in 1932.

The Collections of the Nelson-Atkins Museum of Art: Prints 1460-1995

Arts & Photography

Nelson-Atkins Museum Of Art

History & Criticism

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Books by McKenna, George L.

See the best price to sell, buy, or rent books by McKenna, George L.. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

How the museum print collection grew: Transcript of a lecture, November 26, 1989

The Collections of the Nelson-Atkins Museum of Art: Prints 1460-1995