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A Century of Maine Prints:
1880s - 1980s
September 9 - December 10, 2006
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This September, the
Portland Museum of Art will present A Century of Maine Prints: 1880s
to 1980s, an exhibition on the history of Maine printmaking from the
founding of the Museum in the 1880s until the opening of the Museum's Charles
Shipman Payson building in the mid-1980s. This exhibition is in conjunction
with the statewide Maine Print Project: Celebrating 200 Years of Printmaking
in Maine, the largest collaborative arts project in Maine's history.
Drawn primarily from the Museum's permanent collection, the exhibition will
feature 50 prints that display a rich variety of graphic techniques and
demonstrate the impact of national printmaking trends on artists closely
associated with the state of Maine. A Century of Maine Prints: 1880s
to 1980s will be on view September 9, 2006, through December 10, 2006.
The exhibition begins with fine examples of the etching
revival, popular at the turn of the century, with works by Winslow Homer,
Frank Benson, Charles Woodbury, and Gertrude Fiske. In contrast, later etchers,
such as John Marin and Karl Schrag, explored a more modernist approach to
the medium, displaying a greater degree of abstraction and freedom of line.
Among the well-known woodblock printers represented in
A Century of Maine Prints are William Zorach, Carroll Thayer Berry,
and Leo Meissner, who captured the allure of the Maine coast in their graphic
art. At mid-century, a growing interest in lithography paralleled the popularity
of wood engravings and woodblock prints. Innovative lithographs by George
Bellows,
Marguerite Zorach, Rockwell Kent, and Stow Wengenroth concentrated
on figural and still life subjects, as well as other realist, regionalist
subjects.
In the post-World War II era, with a greater degree of
abstraction dominating the American art scene, printmaking efforts broke
free of traditional subjects and techniques, especially in lithography.
Prints by one of Portland's leading printmakers, John Muench; Monhegan-based
artists John Hultberg and Reuben Tam; and by the Ogunquit artist John Laurent
introduced exciting new paths to the art of printmaking. The exhibition
concludes with examples of the work of more recent artists who explore color
print techniques. Prints by diverse artists such as Dahlov Ipcar, Robert
Indiana, Will Barnet, and Fairfield Porter, produced in different graphic
media, reflect their individual concerns as painters, as well as printmakers.
More than any other print medium, the art of the monotype graphically expresses
those painterly concerns, most notably in a unique print by William Manning
included in this exhibition.
The Maine Print Project: Celebrating 200 Years of Printmaking
in Maine is an innovative series of exhibitions
and education programs featuring all aspects of Maine printmaking. Organized
by 25 art museums and nonprofit arts institutions from Ogunquit to Presque
Isle, Celebrating 200 Years of Printmaking in Maine will take place
from August 2006 through March 2007.
A Century of Maine Prints: 1880s to 1980s and The Maine Print Project: Celebrating 200 Years of
Printmaking in Maine are complemented by an illustrated book by David
Becker, The Imprint of Place: Maine Printmaking, 18002005. This
comprehensive book on Maine printmaking is published by Down East Books
and is available in September in the Museum Store.
Introductory Wall Text for the Exhibition
- A Century of Maine Prints: 1880s to the 1980s
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- This survey of Maine printmaking begins with the founding of the Portland
Society of Art in the 1880s and ends with the opening of the Charles Shipman
Payson building at this Museum in the 1980s. It includes fine examples
of prints from the Etching Revival, popular at the turn of the century,
most notably with works by Winslow Homer, Charles Frederick Kimball, and
Gertrude Fiske. By the early 20th century painter-printmakers, such as
John Marin, Edward Hopper, and Karl Schrag explored a more modernist approach
to the medium, displaying a greater degree of abstraction and freedom of
line.
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- Among the well-known woodblock printers represented here are William
Zorach, Carroll Thayer Berry, and Leo Meissner, who captured the regionalist
appeal of the Maine coast in their graphic art. Beginning in the early
20th century, a growing interest in lithography paralleled the popularity
of woodblock prints. Lithographs by George Bellows, Marguerite Zorach,
Rockwell Kent, and Stow Wengenroth concentrated on figural and still life
subjects as well as the Maine landscape.
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- In the post-World II era, with a greater degree of abstraction dominating
the American art scene, printmaking broke free of traditional subjects
and techniques, especially in lithography. Prints by Monhegan-based artists
John Hultberg and Reuben Tam, by the Ogunquit artist John Laurent, and
by one of Portland's leading printmakers, John Muench introduced exciting
new paths to the art of printmaking. New approaches to color also emerged
from traditional print techniques after 1950. Color prints by a diverse
group of Maine artists such as Dahlov Ipcar, Robert Indiana, Will Barnet,
and Fairfield Porter reflect their individual concerns as painters, as
well as printmakers. Most recently monotype has emerged as a dominant print
form among Maine artists; William Manning's unique print was among the
first to explore this painterly approach to printmaking.
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- The Portland Museum of Art is grateful to Thomaston Place Auction Galleries
for support of this exhibition. This show is part of The Maine Print
Project: Celebrating 200 Years of Printmaking in Maine, a state-wide
series of exhibitions and education programs involving 25 institutions
from Ogunquit to Presque Isle. Major support for The Maine Print Project
is provided by the Maine Arts Commission, an independent state agency,
in partnership with the National Endowment for the Arts American Masterpieces
Program; and by a grant from the Maine Community Foundation. Funding is
also provided by the Davis Family Foundation, with additional support from
June Fitzpatrick Gallery.
Exhibition Labels
- Peggy Bacon (United States, 1895 -1987)
- Maine Problems, 1941
- drypoint on wove paper
- Portland Museum of Art, Maine
- Gift of Harold Shaw, 1984.370
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- One of the leading figures in the Ogunquit art colony, Bacon specialized
in printmaking. This etching depicts a typical Maine town meeting and gave
her ample opportunity to explore aspects of caricature and social commentary,
the hallmarks of her style.
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- Will Barnet (United States, b. 1911)
- Dawn, 1975
- lithograph on Arches Cover paper
- Portland Museum of Art, Maine
- Museum purchase with support from the Friends of the Collection, 1996.52.1
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- A summer visitor to Maine since 1971, Will Barnet has produced a series
of paintings and related prints known as his "women and the sea"
series. Shown as solitary figures contemplating the ocean, Barnet's women
evoke a romantic past with their long dresses and traditional architectural
surroundings. The artist's wife, Elena, served as the model for many of
the figures and the original setting for the series was Chamberlain, Maine.
Later the artist also included architectural elements near his daughter's
home in Kittery Point.
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- Leonard Baskin (United States, 1922 2000)
- View at Deer Isle, circa 1965
- Etching on paper
- Portland Museum of Art, Maine
- Gift of Kenneth N. Shure and Liv M. Rockefeller, 2005.22.1
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- One of America's leading printmakers, Baskin is best known for his
monumental woodcuts of heroic figures. In this rare landscape etching,
however, he captures the ephemeral nature of the Maine coast, where fog
and water often obscure or dematerialize the land. A summer resident on
Little Deer Isle for many years, Baskin deftly conveys the fundamental
elements of his surroundings with a minimal amount of graphic description.
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- George Bellows (United States, 1882 1925)
- Matinicus, 1916
- lithograph on wove paper
- Portland Museum of Art, Maine
- Museum purchase with support from the Friends of the Collection, 1989.41
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- George Bellows (United States, 1882-1925)
- Prayer Meeting (2nd stone), 1916
- lithograph on paper
- Collection of John M. Day
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- Bellows first came to Monhegan Island in 1911 to paint alongside his
teacher, Robert Henri. This print was made back in New York after another
visit to the island in 1916. It is thought to be his first editioned print,
and it is the second version of image that he produced. Both lithographs
depict the interior of the Monhegan church with satiric portraits of the
island residents and their rather histrionic preacher. The size of the
image and his careful reworking of it for publication suggest his growing
ambition as a printmaker.
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- Frank Weston Benson (United States, 1862-1961)
- The Landing, 1915
- etching on paper
- Bowdoin College Museum of Art, Brunswick, Maine,
- Gift of Miss Susan Dwight Bliss1963.286
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- The Boston impressionist artist Frank Benson was hired by the Portland
Society of Art as its first instructor of painting and drawing in 1887.
At the turn of the century, Benson also worked at the art colony in Ogunquit
and began summering on North Haven Island. In 1906 he bought an old farmstead
on the island that became the source of inspiration for many of his paintings
and prints. This etching was made on North Haven in 1915, an especially
productive summer for printmaking. Benson had a printing press in his studio
there and by the end of the year had offers for seven one-man shows of
his prints around the country. His etchings of hunting and fishing scenes
were especially popular, and he produced over 350 prints during the course
of a long career.
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- Carroll Thayer Berry (United States, 1886 1978)
- Winslow Homer's Studio, Prouts Neck, Maine, circa 1937
- wood engraving on paper
- Portland Museum of Art, Maine
- Gift of Earle G. Shettleworth, Jr., 2000.21.1
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- The 1930s saw a revival of wood engraving across the nation. More traditional
artists such as Dorothy Hay Jensen and Leo Meissner often concentrated
on well-known Maine architecture or landscape elements. Modernists, like
Rockwell Kent, did more experimental figural work. Carroll Berry's approach
to wood engraving falls between the two camps. He chose landmark Maine
scenes but often carved the hard, end-grain woodblock with bravura jabs
of his cutting tool. These varied marks are particularly evident here in
the white areas that define the waves and sky. Berry's use of wood engraving
for this scene is especially apt, as Homer himself began his career as
a wood engraver for illustrated magazines in the mid-19th century. Born
in New Gloucester, Berry was as an illustrator in New York and Chicago,
before returning to Maine in the 1930s and devoting himself to making prints
about coastal life.
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- Marvin Bileck (United States, 1920 2005)
- Along the Shore: Cranberry Island, circa 1950
- etching on paper
- Portland Museum of Art, Maine
- Museum purchase with support from Board Designated Funds for Acquisition,
2005.31
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- An artist who taught in Philadelphia and New York, Bileck spent his
summers on Great Cranberry Island, the subject of most of his landscape
etchings. His ability to draw fine lines with the etching needle is evident
in this image, that despite its small scale, manages to convey the expansiveness
and atmosphere of the Maine coast.
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- George Bunker (United States, 1923 1991)
- Garden Theme, 1962
- lithograph on wove paper
- Portland Museum of Art, Maine
- Gift of The George R. Bunker Living Trust, 1995.17.2
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- An abstract expressionist painter much influenced by the art of Cézanne,
Bunker turned to printmaking early in his career while studying in Paris.
He taught for many years at the Philadelphia College of Art and was on
the board of the Print Club of Philadelphia, one of the most active print
clubs in the country. Beginning in the mid-1950s, Bunker spent summers
on Cranberry Island in Maine. The year that this lithograph was completed,
he bought property at Preble Cove and began his series of abstract garden
prints.
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- Thomas Cornell (United States, b. 1937)
- Snapping Turtle I, 1968
- Etching and aquatint on paper
- Portland Museum of Art, Maine
- Anonymous gift, 1986.290
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- Thomas Cornell has taught at Bowdoin College since 1962, where he has
produced a wide range of etchings and lithographs including portraits,
classical subjects, and animal studies. A student of Leonard Baskin, Cornell
adopted his teacher's intensity and skill as a printmaker for this image
done from life. As in Baskin's 1963 woodcut series Las Encantadas,
studies of tortoises against a dark background, Cornell dramatizes his
image with the use of a black surround. In this print, he used the aquatint
process in which a rosin powder is applied to the etching plate, heated
to affix the particles, and then placed in an acid bath. The acid eats
away the area between the particles, creating a soft, velvety tonal area
when the plate is inked and printed.
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- Werner Drewes (United States, b. Germany, 1899 1985)
- Camden Harbor, 1954
- color woodcut on paper
- Bowdoin College Museum of Art, Brunswick, Maine,
- Gift of Charles Pendexter in honor of David P. Becker's ongoing commitment
to Bowdoin College, to the Museum of Art, and to its collections of works
on paper, 2004.013.002
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- Drewes, who had studied at the Bauhaus with European modernists Wassily
Kandinsky, Paul Klee, and Walter Gropius, emigrated to the United States
in 1930. It was Gropius who encouraged Drewes to take up printmaking. Drewes
taught graphics and painting in New York and later at Washington University
in St. Louis, where his circle of friends included Philip Guston and Max
Beckmann. Drewes initially came to Maine in the 1940s. His abstracted view
of Camden Harbor owes much to German Expressionist woodcuts in its use
of vivid color, vigorous carving of the block, and sharp, angular forms.
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- John Heagan Eames (United States, 1900 2002)
- Street Scene, Maine Village, 1934
- etching on paper
- Portland Museum of Art, Maine
- Gift of Earle G. Shettleworth, Jr., 2000.21.3
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- Born in Boothbay, Eames graduated from Harvard and worked as a architect
until the Depression forced him to change professions. He then went to
the Royal College of Art in London to study printmaking, and the rest of
his career was devoted to the graphic arts. During the 1940s and 1950s,
he had an active exhibition career and won numerous awards for his etchings.
This scene of his hometown characteristically features detailed renderings
of architectural details, telephone wires, and a lone figure evoking the
regionalist spirit of the period.
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- Linwood Easton (United States, 1892 1939)
- Whitehead, Monhegan, 1939
- drypoint on Whatman laid paper
- Portland Museum of Art, Maine
- Gift of Roger and Katherine Woodman, 1994.23.2
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- Easton was a member of an informal group of Portland printmakers whose
work was exhibited at the Portland Museum of Art in 1936. Along with Dorothy
Hay Jensen, Francis Libby, and Alice Harmon Shaw, Easton produced recognizable
Maine scenes such as this one. An optometrist by profession, he was also
a member of artist groups such as the the Society of American Etchers and
the Salmagundi Club in New York. In 1941, the Museum honored him with a
memorial exhibition of his prints.
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- Kerr Eby (United States, 18891946)
- Night, High Island (Maine), 1928
- Etching on laid paper
- Portland Museum of Art, Maine
- Museum purchase with support from the Friends of the Collection, 1998.31
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- The son of Canadian missionaries, Eby was born in Japan. He returned
to Canada as a child and later studied art at Pratt Institute in Brooklyn,
New York, where he produced his first prints. In 1910, he took classes
at the Art Students League with George Bellows, and later, in 1915, became
close friends with Childe Hassam, to whom he provided advice on making
etchings. The two artists worked together at Cos Cob on the Connecticut
shore for many summers in the teens and 1920s. In search of landscape subjects,
Eby also traveled extensively to Europe and the northeastern United States,
including Maine. His etching of High Island, located off the coast of Knox
County, recalls elements of Japanese prints in its thin, vertical format
and the aerial perspective of the boat. He also enhanced the atmospheric
effects by leaving a thin film of ink in the dark areas of the image.
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- Gertrude Fiske (United States, 18781961)
- Untitled (Self-Portrait),undated
- etching on wove paper
- Portland Museum of Art, Maine
- Gift of William Greenbaum, 1995.51.2
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- A founding member of the Ogunquit Art Association, Fiske excelled at
the art of etching. This image, probably a self-portrait, was influenced
by Whistler's graphics, which were a major impetus behind the Etching Revival
in both England and the United States at the turn of the century. The fluidity
of her etched line also recalls the work of her teachers, Frank Benson
and Charles Woodbury, also represented in this exhibition.
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- Ralph Frizzell (United States, 19091942)
- Fishing Boats, undated
- linocut on laid tissue
- Portland Museum of Art, Maine
- Gift of Isabel F. Thacher in memory of A. Taylor MacElwee, 1977.31
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- Raised in Portland, Frizzell graduated from the School of Fine Arts
of the Portland Society of Art in 1931. Like many artists during the Depression,
he looked to printmaking, book illustration, and mural painting as a means
of earning a living. His strength as a graphic artist is evident in this
print where he incised curving lines in the soft surface of a linoleum-faced
block to suggest the movement of water.
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- Sears Gallagher (United States, 1869 1955)
- The West Wind, undated
- drypoint on wove paper
- Portland Museum of Art, Maine
- Gift of Mrs. Robinson Verrill, 1973.183
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- Born in Boston, Sears Gallagher studied art during the 1880s with the
Monhegan painter Samuel P. R. Triscott and shared a studio with Charles
Woodbury, a painter and printmaker who worked in Ogunquit. Gallagher then
traveled to Paris for further studies and by 1911 he began etching in earnest.
His prize-winning prints were widely collected during his lifetime and
among his most popular subjects were scenes of children playing on the
beaches of New England and his views of Monhegan.
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- Ernest Haskell (United States, 1876 1925)
- Crystal Morning, 1924
- etching on wove paper
- Portland Museum of Art
- Gift of Roger and Katherine Woodman, 1989.25.3
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- Haskell was one of Maine's most prolific printmakers, producing both
lithographs and etchings. Like Sears Gallagher, he studied in Paris at
the Académie Julian in the 1890s, but he returned to New York, where
he began his career as a printmaker. In 1903, he bought a home in Maine
on the Phippsburg peninsula and for the remainder of his life spent summers
there. One of Haskell's later prints, this etching abandons his prior practice
of using plate tone and instead relies on small, delicate lines to define
the features of the Maine landscape. It particularly evokes Haskell's admiration
of Rembrant's masterful etchings of the flat Dutch coastal plain.
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- Ernest Haskell (United States, 1876 1925)
- John Marin's Oak, undated
- Etching
- Bowdoin College Museum of Art, Brunswick, Maine,
- Gift of Mrs. Ernest Haskell, Sr., 1947.010.006
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- A friend of both Childe Hassam and John Marin, Haskell shared their
love of nature, especially trees. Between 1914 and 1918, Marin summered
near Small Point, Maine, close to Haskell's home, and the two men often
worked at the same site. This print is Haskell's visual tribute to Marin;
and after his death, Marin provided a written tribute to Haskell at his
memorial exhibition.
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- Childe Hassam (United States, 1859-1935)
- American Elms, Belfast, Maine, 1931
- etching and drypoint on wove paper
- Portland Museum of Art
- Gift of Mrs. Frederick Childe Hassam, 1940.8
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- Although he is best known for his impressionist paintings, Hassam's
artistic career began in Boston where he worked as a wood engraver. Later
in his career, he also made numerous etchings and lithographs of New York
City, colonial churches in Connecticut, and scenes near his summer home
in Easthampton on Long Island. On occasion, he also traveled to Maine to
paint Celia Thaxter's garden on Appledore Island and the islands around
Bar Harbor. The old elms of Belfast and Yarmouth also drew his attention-their
monumentality emphasized in the complex cross-hatching of lines.
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- John Heliker (United States, 1909 2000)
- Self-Portrait, 1963
- lithograph on laid paper
- Portland Museum of Art
- Gift of Karen Wilkin, 1986.304
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- The light, quick, nervous line of John Heliker's drawing style is aptly
transferred to prints through the medium of lithography. The direct marks
of soft pencil and charcoal on paper are rendered here in lithographic
crayon drawing on stone. Known primarily for his vibrantly colored paintings
of Maine landscapes and interiors, Heliker ventured into printmaking briefly
in the 1960s as a means to experiment with line. A summer resident of Cranberry
Isle since the late 1950s, Heliker also lived in New York, where he taught
at Columbia University.
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- Winslow Homer (United States, 1836 1910)
- Saved (The Lifeline), 1884
- etching on western vellum
- Bowdoin College Museum of Art, Brunswick, Maine,
- Gift of the Homer Family, 1964.069.205
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- Homer began his artistic career as a printmaker. In the 1850s he apprenticed
in Boston with the commerical lithographer J. H. Bufford; he then went
on to produced illustrations for wood engravings for Harper's Weekly
in New York, as well as other publications. Long after he had an established
reputation as a painter, Homer took up etching about the time he settled
in Prouts Neck, Maine. The medium was growing in popularity due to the
Etching Revival that swept both Europe and America in the 1880s. Although
self-taught as an etcher, Homer sought out the best printer and publisher
in New York to assist in the making and distribution of these prints based
on his paintings. The painting Saved (also known as the Life
Line) sold the first day it was exhibited and within two months Homer
had produced this etching which he hoped would reach a large audience.
The print was the first of eight large plates that Homer etched in Maine
and then sent to New York to be printed.
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- Edward Hopper (United States, 1882 1967)
- The Lighthouse (Maine Coast), 1923
- etching on paper
- Whitney Museum of American Art
- Josephine N. Hopper Bequest, 1970.1032
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- Lighthouses were a favorite subject of Hopper's. He depicted them in
watercolors, oils, and in this etching, probably a view of the Cape Neddick
"Nubble" Light.
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- Edward Hopper (United States, 1882 1967)
- The Monhegan Boat, 1918
- etching on paper
- Whitney Museum of American Art
- Josephine N. Hopper Bequest, 1970.1043
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- As a break from his early career as a commercial illustrator, Edward
Hopper took up printmaking in 1915. He was a self-taught etcher, but his
prints were well received and helped establish his reputation as a fine
artist in New York. Hopper first came to Maine in 1914, and one of his
earliest etchings is this scene on the Monhegan mail boat that captures
the camaraderie of the passengers as well as the power of sea. Hopper summered
on Monhegan from 1916 to 1919, returned to Maine in 1926 for a trip to
Rockland and Eastport, and stayed at Two Lights in Cape Elizabeth in 1927.
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- John Hultberg (United States, 1922 2005)
- Porch Serenity (Storm from the Porch II or Dreamer and Dreams), 1963
- lithograph on Rives BFK paper
- Portland Museum of Art
- Gift of Mr. and Mrs. David Kellogg Anderson and family, 1996.36.18
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- An abstract painter and printmaker, Hultberg rose to prominence in
the 1950s. He studied art in San Francisco where his teachers and friends
included Richard Diebenkorn, Mark Rothko, and Clyfford Still. After a year
in Paris in 1954, he settled in New York, and in the early 1960s he began
working on Monhegan Island in the summers. In 1963, Hultberg received a
fellowship to work at the prestigious Tamarind Lithography Workshop, then
located in Los Angeles. This print is the result of his Tamarind experience.
It is one of 20 lithographs he made there and reflects the experimental
nature of that workshop, where artists and printmakers collaborate on the
production of prints. The image is suggestive of the view from his Monhegan
porch.
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- Robert Indiana (United States, b.1928)
- Decade: Autoportrait 1969, 1982
- silkscreen on BFK Rives paper
- Portland Museum of Art
- Gift of the Bruce Brown Collection of Prints, 2000.22.7
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- In the 1970s, Robert Indiana produced a number of self-portaits (or
autoportraits) in his characteristic Pop Art style. The series consisted
of 30 paintings and related silkscreen prints whose central numbers refer
to the decade between 1960 and 1969 when the artist rose to prominence.
This print, with its opposing references to Skid Row and Penobscot, highlights
the two poles of his existence between New York and Maine. In 1978, Indiana
moved to Vinalhaven Island in Penobscot Bay and established a new home
and studio in the Odd Fellows' Star of Hope building, represented here
by the three linked rings. The predominant yellow and black colors represent
danger, as does the number 9, which to Indiana signifies the end of a decade
and death. The use of silkscreen and the poster-like composition further
suggest the visual elements of a warning sign.
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- Dahlov Ipcar (United States, b.1917)
- Unicorn Wood, 1969
- color woodcut on Japanese rice paper
- Portland Museum of Art
- Gift of Dahlov Ipcar in memory of her brother, Tessim Zorach
- 1995.37.2
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- The love of patterning and whimsical animal and plant forms in this
print can also found in Dahlov Ipcar's paintings and fabric sculptures.
A self-taught printmaker, Ipcar absorbed the graphic techniques used by
her parents, Marguerite and William Zorach, whose works are also on view
in this exhibition. Her earliest prints were blackand white lithographs,
done in the 1940s. She returned to the medium in the 1980s and 1990s, with
assistance from the printmaker Frances Hodsdon. This colorful woodcut,
however, evokes the energy and invention of her father's early prints.
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- Dorothy Hay Jensen (United States, 1910 1999)
- Million Dollar Bridge, 1933
- linocut on paper
- Collection of Neil and Peggy Jensen
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- As director of the Federal Art Project for the state of Maine during
the Depression, Dorothy Hay Jensen supervised the activities of numerous
artists and helped printmakers to publish their works, most notably in
the WPA-sponsored Portland City Guide of 1940. She is best known
for her linocuts of local scenes such as this one of the old bridge connecting
Portland and South Portland. The lone figure at the lower right aptly conveys
the emotional and economic pressures of the period. Jensen especially admired
Rockwell Kent's wood engraving style, as evidenced by the black background
and strong white highlights carved into the surface of the printblock.
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- Alex Katz (United States, b.1927)
- Good Afternoon, 1974
- lithograph and silkscreen on paper
- Portland Museum of Art
- Gift of Brooke Alexander, 1984.410
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- Alex Katz has worked in a variety of print media over the years-drypoint,
linocut, and woodcut, as well as lithography and silkscreen. Describing
the latter techniques used in this print, Katz emphasized that the combination
of two media gave him a sense of flat color he wanted to achieve: "Most
of the surface is lithoed, but the flat colors, which are difficult to
print, were done in silkscreen. Lithography gives you a little more control
over the tones and less control with flat color." That emphasis on
flatness is also a critical aspect of his paintings. Since 1954, when Katz
bought a farm in Lincolnville, Maine has provided him with both solace
and subject matter for his art.
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