This is the first book to focus exclusively on what Grace Hartigan terms her "art history paintings": paintings specifically inspired by works culled from her far-ranging interests in art of the past. The essay and interview with the artist consider Hartigan’s response to compositional ideas and deliberate reinterpretations of famous "masterworks" of the west. Illustrations include a grouping of recent paintings in which Hartigan has borrowed figures, poses, and gestures appropriated from a variety of sources. 
Grace Hartigan is director of the Hoffberger School of Painting, Maryland Institute College of Art, in Baltimore.

Grace Hartigan: Painting Art History

Arts & Photography

Maryland Institute College of Art

Hirsh, Sharon L.

Trout Gallery

Hartigan, Grace

Individual Artists

Focusing on prints (etchings, drypoints, color lithographs), Picasso and the Circus presents a pivotal moment in Picasso's early career, between his Blue and Rose Periods, when he was increasingly drawn to the subject of the circus in Paris. The book analyzes the circus and related spectacles in fin-de-siecle Paris, and how they were interpreted by print arts of the era, including Jules Cheret, Henri-Gabriel Ibels, Henri Gray, Edgar Chahine, and Richard Ranft. It then considers Pablo Picasso's Suite de Saltimbanques (1904-6), an early and highly important series of etchings and drypoints related primarily to acrobats (saltimbanques). The popularity of the circus in late 19th-and early 20th-century Paris certainly resonates in the works of many artists. From sensational--and sensationalized--feats of strength and prowess to moving depictions of poverty and the life of the outcast, these prints not only expand our understanding of the period, they also represent some of Picasso's finest work.

Picasso and the Circus: Fin-de-Siecle Paris and the Suite de Saltimbanques

History & Criticism

In the 1880s, James McNeil Whistler revolutionized the way artists represented the city of Venice by producing images that moved away from the major tourist monuments to depict the squares, back alleys, and isolated canals that only residents knew. His novel approach inspired generations of printmakers who worked in Venice, and this book celebrates their work. Ernest David Roth (1879-1964) was one of the most significant American etchers of the first half of the 20th century, and his most important achievements are the views he did of Venice between 1905 and 1941. Roth and his friends John Taylor Arms and Louis Rosenberg formed the nucleus of a circle of American etchers that created a timeless vision of European and American cityscapes and landscapes in the 1920s and 1930s, and their Venetian views are at the center of their accomplishment.

Reflections and Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940

Denker, Eric

Shan Goshorn : Resisting the Mission Paperback

Phillip Earenfight

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Books by Trout Gallery