THE PRINT, DRAWING & PHOTOGRAPH SOCIETY OF THE BALTIMORE MUSEUM OF ART

Newsletter■ ■ VOLUME 35 NUMBER 1 SPRING 2016

GIFTS FOR A NEW CENTURY The New Arrivals exhibition celebrates the success of the BMA’s Campaign for Art by showcasing some of the more than 3,500 gifts, promised gifts, bequests, and purchases of art added

to the Museum’s collection. 3

ALSO INSIDE D

O PRESIDENT’S LETTER 2 O H O

R WHEN PHOTOGRAPHS TACKLE ART HISTORY 6 T I M :

O THE DIRECTOR’S COLLECTION 10 T O H P

. EVAN LINDQUIST 14 N A M

D TAMING THE GARRETT COLLECTION 20 L E F E

N BROOMBERG & CHANARIN: OPTICS & CONFLICT 24 I L A

© GEORGE ALOYSIUS LUCAS, A BALTIMOREAN IN PARIS 28 Aline Feldman (American, born 1928) Night Grid, 2009 Color white line woodcut Sheet: 1011 x 659 mm. (39 13/16 x 25 15/16 in.) Gift of the Artist BMA 2011.77 R E T

T Dear Members of the Print, Drawing & Photograph Society,

E BOARD OF DIRECTORS

L Spring 2016 It is heartening to be writing a letter for our spring Newsletter as I am surrounded by almost S

’ PRESIDENT

T 30 inches of snow! Susan Weiss N

E VICE PRESIDENT

D As I reflect back on this year so far, I know so many of you enjoyed our opening reception I Francine Krumholz S featuring the exhibitions Photographs from the O’Neil Collection and Late 20th-Century E TREASURER R

P Photographs from Russia & Belarus. The tours given by curators Kristen Hileman and Rena Karen Fowler Hoisington were wonderful, and everyone so enjoyed mixing and mingling afterwards at SECRETARY the reception. Suzanne Hill IMMEDIATE PAST PRESIDENT As always, the NYC day trip to the IFPDA print fair was a special treat, this year made even Judith Tobin better by the visit to The Miriam and Ira D. Wallach Art Gallery at Columbia University to receive NEWSLETTER EDITOR Scott Ponemone a special tour of the exhibition Rembrandt’s Changing Impressions. HIGHER EDUCATION LIAISON Many of us also attended the very interesting talk by artist George Walker (the subject of a Lisa Shifren fall Newsletter article) hosted by Scott Ponemone at his home. MEMBERS Miriam Arenberg In December we were treated to an enthusiastic tour of the exhibition Matisse Prints and Darnell Burfoot Evelyn Cogswell Drawings by Interim Co-Director Jay Fisher. We are so fortunate to be the recipient of many Betsy Cumming works from the Matisse heirs with many thanks to Jay for nurturing that relationship. Jo Helman Trudi Ludwig Johnson Now we look forward to the balance of the season: our ever-popular Winter Seminar Series, Judith Katz this year focusing on George A. Lucas; our spring collector visit; and finally our Annual Alison Morgan Meeting in June. BMA ADVISORS Rena M. Hoisington This will be my last letter as president of our group. I have been proud and honored to serve Jay Fisher as President. Every aspect of this post has been wonderful, from working with the dedicated board members and talented Newsletter staff to learning from the superb curatorial staff NEWSLETTER STAFF 2 of the PDP department. I’ve said this before, but it bears repeating: I especially love the EDITOR Scott Ponemone camaraderie of our group. It is such a pleasure every time we get together. I know we will CONTRIBUTING EDITORS all be well served when Francine Krumholz steps up to assume the position of our next Amy Beverungen president. Evelyn Cogswell Amy Huntoon Enjoy this Newsletter! You’ll find interesting articles with important information regarding Ursula West Minervini upcoming events. Nancy Patz EDITORIAL ADVISOR Sincerely, Rena Hoisington CURATORIAL ASSISTANT Susan Weiss, President Morgan Dowty Print, Drawing & Photograph Society DESIGN The Baltimore Museum of Art Nicole Clark, Stanton Design

The Print, Drawing & Photograph Society Newsletter is a project undertaken by the Society for the use of its members. Articles are submitted by Society members, Museum staff, or guest authors as individual expressions of opinion and do not necessarily represent the views of The Baltimore Museum of Art or of the membership as a whole. Y R U

NEW ARRIVALS: T N E C W E N A

GIFTS OF ART FOR R O F T R A F

A NEW CENTURY O S T F I G : S L A V I R R A W E N

James McNeill Whistler (American, 1834-1903) 3 Nocturne, 1879-1880 From the portfolio Twelve Etchings of Venice (First Venice Set) D O

O Etching and drypoint H O

R Sheet: 202 x 297 mm. (7 15/16 x 11 11/16 in.) T I

M Plate: 199 x 292 mm. (7 13/16 x 11 1/2 in.) : O T Given in Memory of Edward Bruce Baetjer O H P BMA 2011.322

BY AMY BEVERUNGEN T R monumental exhibition has opened at The Museum over the years. Speaking through objects, A F O

Baltimore Museum of Art. New arrivals to the exhibition tells a story of how the BMA's M U E S

the Museum's collection—including gifts, collection has grown since its founding in 1914 U M

A E promised gifts, bequests, and purchases made with and signals where the Museum is headed in the R O M newly donated funds from the last ten years—are 21st century. I T L A

being exhibited with related works in the permanent B E

With over 200 objects on view, the exhibition invites H collection in a large-scale show entitled New Arrivals: T F

viewers to see the ways that objects from all of O

Gifts of Art for a New Century (through May 8). The Y T E

the Museum's departments correlate through I C

exhibition celebrates the Museum's Campaign for O

meaningful object pairings. A 20th-century Ishungu S H

Art, which welcomed over 3,500 objects into P (a culture group located in South Africa) snuff A R

the collection. The exhibition demonstrates the G O

container fashioned from gourd, brass, and iron will T O

flourishing of each department's collections while H be posed with a 19th-century French snuff box made P highlighting the ways in which they have evolved. & G

from gold, enamel, diamonds, and porcelain. Such N I

With such a bountiful display of the breadth, depth, W A

a pairing elicits a bond between different regions R D

and variation of the BMA's collection, New Arrivals: , and time periods and invites viewers to analyze T N I

Gifts of Art for a New Century pays homage to the R variations in cultural style. P E

individuals who have contributed so greatly to the H T 4 NEW ARRIVALS: GIFTS OF ART FOR A NEW CENTURY

PHOTO: MITRO HOOD Expressive MaleHead 1738-1820) (American, Benjamin West Gift oftheStilesE. (41/2x71/4in.) 115x184mm. Sheet: Graphite fromasketchbookcontaining75sheets withdrawings BMA 2008.277.1 and Stiles Tuttle Colwill, Lutherville, Maryland, in Memory ofMarion inMemory Tuttle Colwill Maryland, Lutherville, and Stiles Tuttle Colwill, BMA's east wing at night. neon piece that illuminates the exterior of the exhibition. They correspond to the large-scale Violins/Violence A carries over into the two-dimensional plane. the artist’s iconic sense of form and composition lithograph, poster for anexhibition of hiswork.In this 1956 lithograph by the artist, which he created as a Calder willbe displayed with abrush and tusche in various media. Two sculptures by Alexander exhibition willalso pair pieces by artists who work In addition to cross-cultural juxtapositions, the uteMmra rs,theMarion TuttleTuttle Memorial ColwillCharitable Trust, Trust, print and adrawing from Bruce Nauman's , c . 1760-1792 Calder series willbe included inthe , the viewer can see the way C sense. A1915 Pierre Bonnard painting from the to existing work inthe Museum, inamore literal An on display with the sketchbook inthe exhibition. dr o Recent acquisitions add new meaning to many e Brigman's elegant photographs of the nude form Wolf's portfolio entitled On view for the first time, sixprints from Gustav a Whistler made to this fine print of ashipcrossing viewers may closely inspect the changes that piece. With allfour unique variations on display, three long-term holdings of impressions of the h 2 landscape areon display inconjunction with early c Three of Edward Burtynsky's powerful, large-scale photography willalso be presented inthe show. in this dynamic series. New acquisitions of variety of woodcut techniques applied brilliantly Whistler's acquisition of avariation of James McNeill scope of prints, drawings, and photographs on Lovers of works on paper willbe elated to see the from 1924 titled gift to the Museum was another Bonnard painting fruit from aslightly raised point of view. Arecent see the Fall 2015 the exhibition. (For more information on the series, Fruit enthusiasts willespecially enjoy acquired through the generosity of PDPS. Woodcut It isrewarding to see how recent acquisitions have years, with the basket serving as arecurring motif. see the way the artist’s style evolved through the life perspective. Displayed together, the viewer can same green-striped basket but from afrontal still- inc perspective to existing holdings of West's work, look into the style artist's and process. It adds 75-sheet sketchbook by Benjamin West offersa view inthis exhibition. Of special note isarecent hr mb f one Collection, titled um 0t lagoon in19th-century Venice (see page 3). a the BMA's long-term holdings. A2008 giftof a other recent giftadds adifferent perspective lu o wing with inkand watercolor wash that willbe h-c e m an , din dded inthe natural landscape. is aPost-Impressionist painting of alady with o e g ntury photographic works that explore g e T ni d Nocturne h c n e a color prints of the post-industrial D t e ure re a Basket of Fruit Newsletter t h print, which recently joined of Aaron l ationships, as inAnne W. W World oman with aBasket of .) The portfolio was , a will be included in , m which depicts the World a s t e r ful graphite and its allowed the collection to flourish in significant (and that interplays with visible wood grain. The piece is Y R U

sometimes playful) ways. a harmonic combination of historic printmaking T N

techniques and the artist’s unique style, fitting nicely E

In tandem with New Arrivals: Gifts of Art for a C into the collection of works on paper at the BMA.

New Century is New Arrivals: Maryland Artists, W E an exhibition of recent acquisitions of art by Another noteworthy piece is a delicate watercolor N

Marylanders. This companion show offers a look at rendering of stacked rocks titled Balance of A R recent acquisitions of works by Maryland artists, Consequence (2007) by Baltimore artist Christine O F

showing how local artists are represented in the Neill, who studied with Grace Hartigan at the T R larger context of the Museum. Of particular note is Maryland Institute College of Art. The weight and A F

a color woodblock print depicting an urban night firmness of the geological subject is offset by O scene titled Night Grid (2009) by Columbia artist the soft watercolor tones, as well as the delicate S T F

Aline Feldman (see cover). Her single-woodblock alignment of the rocks. The piece produces a I G

technique and the aerial perspective are evidence sensitive balance and shows the artist’s proficiency : S of the artist’s experience working with Japanese in the watercolor medium. L A V printmaker Unichi Hiratsuka. Feldman also uses I

Both New Arrivals exhibitions provide an exciting R the “white-line method” of delineating shapes in her R look at what the Museum has become and give A piece, applying a soft-edged geometric structure inspiring thoughts as to how it will continue to grow. W E N

5 T R A F O M U E S U M E R O M I T L A B E H T F O Y T E I C O S H P A D R O O G H O O T R O T I H M P : O T & O H G

P Christine Neill (American, born 1947) N . I L L I

Balance of Consequence, 2007 W E A N R

E Watercolor over graphite D N I T ,

Sheet: 762 x 559 mm. (30 x 22 in.) T S I R N I H Gift of Judith Tobin and Jeffrey Lindemuth, Baltimore R C P

© BMA 2013.103 E H T Y R O T

S WHEN I H T R A E L K

C PHOTOGRAPHS A T S

H TACKLE P A R G O T O H

P ART HISTORY N E H W O N A R R E S S E R D N A

6 Y S E T R U O C Andres Serrano (American, born 1950) Black Supper, 1990, printed 1992 Silver dye bleach print (Ilfochrome), silicone, plexiglass, wood frame 5 panel piece, each frame: 45 1/16 x 32 11/16 in. (1144 x 830 mm.) The William G. Baker, Jr. Memorial Fund, and Dr. Max Stern Trust Fund BMA 1993.20a-e.

BY AMY HUNTOON ere is a simple concept: pair four viewers to see contemporary art in dialogue with contemporary photographic works with four historical subjects and practices. masterpiece paintings that inspired the H Walking into the gallery that normally displays photographers. This disarmingly straightforward smaller works on paper and seeing only four large premise underlies On Paper: Picturing Painting, works installed with dramatic lighting will jolt the an exhibition set to open March 30 and remain viewer to consider how large-scale photographs on view until October 23 in the On Paper Gallery. have a physical impact that rivals contemporary The photographic works challenge the viewer to paintings. The large size is only the beginning of the contemplate how photography can simultaneously comparison. While the subject matter references show both continuity and rupture with art history, famous art historical masterworks, each of these according to Kristen Hileman, Senior Curator four works reinvestigates and reimagines its subject. of Contemporary Art and Department Head. In mounting this show her goal is to feature Andres Serrano’s Black Supper references The Last contemporary works from the BMA’s photography Supper (1990), famously painted by Leonardo da collection and, by referencing art history, encourage Vinci in 1495-98 as a fresco in the refectory of the monastery Santa Marie delle Grazie in Milan. However, Serrano’s modern work barely reveals the Y R O

faces of Christ and his disciples. He spray-painted T S small plaster models of Leonardo’s figures black and I H

submerged them in water.* He then photographed T R the figures and created a five-panel work mounted A E

in a wood frame with plexiglass glazing. The large L K work—each panel almost 3 x 4 feet—creates an C A imposing presence. This construction of a serial T S

image also recalls the Andy Warhol 1986 painting H P

The Last Supper that hangs in the Caplan Gallery in A R the Museum’s Contemporary Wing. G O T

Serrano achieved quite a bit of notoriety for his O H photograph Piss Christ (1987) that featured a small P N plastic statue of Christ submerged in a glass of the E H

artist’s urine. In a 1989 New York Times review W of this work, critic Michael Brenson suggests that the use of the photographic medium frees the artist to reconsider traditional religious imagery in a new way. While examining Serrano's series of Cibachrome photographs of iconic objects submerged in bodily fluids, Brenson commented: "You cannot consider the content of Mr. Serrano's work without considering his attitude toward photography. It is the photograph that breaks through convention, that makes the search possible 7 and that enables the artist to sort out what he likes and does not like in religion and art.” Drawing also from the Renaissance period for inspiration is the large portrait by Rineke Dijkstra

entitled Hel. Poland, August 12, 1998. Kristen A R T S K J Hileman described this portrait as a “tender image I D T E R K E A N

… the preteen girl on the beach is confident I F R O ©

and vulnerable.” She stands in a pronounced M U

Rineke Dijkstra (Dutch, born 1959) E S contrapposto position with the waves behind her. Hel. Poland, August 12, 1998, 1998 U M

This pose suggests to Hileman that Dijkstra was Chromogenic color print E R

Sheet: 1451 x 1171 mm. (57 1/8 x 46 1/8 in.) O M thinking about Sandro Botticelli’s Birth of Venus I Horace W. Goldsmith Foundation Fund T L

BMA 2001.22 A (1482-85) when she took this photo. According to B E H Hileman, the photographer, by classicizing the T F O Y

young girl, connects contemporary preteens with T E I C

historical concepts of beauty. Considering this art O S H

historical context perhaps will open a new door P A R for the viewer’s appreciation of contemporary art. G O T O H A different dialogue about women in art history P & G

is introduced by Le déjeuner sur l'herbe: Les N I W A

Trois Femmes Noires (2010), the staged group R D

*Robert Hobbs, Andres Serrano: Works 1983-1993, Philadelphia: Institute , photograph by Mickalene Thomas. This provocative T N Contemporary Art, University of Pennsylvania, 1994. I R image presents three black female figures in the (http://www.roberthobbs.net/book_files/Andres_Serrano_The_Body_Politic.pdf) P E H T Y R O T S I H T R A E L K C A T S H P A R G O T O H P K R N O Y E W H E N , Y W R E L L A G N I P U A M N N A M H E L D N A T S I T R A E H T Y S E T R U O C , S A M O H 8 T E N E L A K C I M © Mickalene Thomas (American, born 1971) Le déjeuner sur l'herbe: Les Trois Femmes Noires, 2010 Chromogenic color print Sheet: 1219 x 1524 mm. (48 x 60 in.) Frame: 1333.5 x 1625.6 x 57 mm. (52 1/2 x 64 x 2 1/4 in.) Collectors Circle Fund for Art by African Americans, and Roger M. Dalsheimer Photograph Acquisitions Endowment BMA 2010.36

pose made famous by Edouard Manet’s painting of a picnic and offering an empowering image of black picnic in a woodland setting. The white nude female women to contemporary audiences. in Manet’s work is absent here. Instead the three The most hand-worked of the four photographic clothed black women strike poses similar to the images on display is Large Blue Film Picasso (1988- men in Manet’s work. Hileman commented that 89) by the Starn Twins. It offers another opportunity these figures reference race, identity, and gender to engage with painting but in a very literal way. As and speak to the existence of strong, black female Hileman discussed this work, she explained that it is figures in art. Thomas, who has made many “one medium investigating another” and described paintings that portray black women, examines this work as “sculptural because of the collage femininity, beauty, race, sexuality, and gender elements.” Presented in a large frame that divides in her artwork. By revisiting an iconic subject from the image in half, the two female figures are an Impressionist painter who was regarded as photographic versions of Picasso’s Two Seated revolutionary in his era, Thomas continues the Nudes. The photographic images of the figures, revolutionary spirit by reimagining the woodland held in place with wood, tape, and plexiglass, resemble two puzzle pieces that neatly fit together. Visit the BMA On Paper Gallery. Consider how Y R O

And ironically, because photography is a medium contemporary artists use art historical masterpieces T S that produces multiples, the handcrafted assembly for inspiration. These artists have a way of working I H

makes this work unique. It references earlier that is ahistorical. They have reinvented the wheel in T R

historical approaches to art making that required new and provocative ways. By reimagining famous A E

hours of thought and skilled work with materials painting subjects as photographs, such as creating L K

to produce a unique image. Since making this The Last Supper as a serial panel work or peopling C A

photographic work in the 1980s, Mike and Doug the iconic Le déjeuner sur l'herbe with contemporary T S

Starn’s practice has evolved into sculpture. In 2010 black women, these works make a claim for the H P

their Big Bambú: You Can't, You Don't, and You Won't importance of photography. While painting has A R

Stop—a monumental bamboo structure measuring a longer history and for centuries was the most G O

100 feet long, 50 feet wide, and 50 feet high—took celebrated art form, these contemporary photographs, T O

the form of a cresting wave and bridged realms of in a subtly subversive way, make a case for H P

sculpture, architecture, and performance. It was photography as the more relevant art form. N E

installed at the Metropolitan Museum of Art as a H site-specific installation for The Iris and B. Gerald W Cantor Roof Garden.

9 T R A F O M U E S U M E R O M I T L A B T R E A H F T O F M U O E S Y U T M E I E R C O O M I S T L A H B P E A H R T G F O O T Y S O E T H R P U O & C G N

Starn Twins ((Mike and Doug Starn, American, born 1961)) I W

Large Blue Film Picasso, 1988-1989 A R

Toned Ortho film photographic paper, plexiglas, glue, tape and wood D , T

2592 x 2643 mm. (102 x 104 in.) N I R

Frederick R. Weisman Contemporary Art Acquisitions Endowment P

BMA 1989.52 E H T 10 THE DIRECTOR’S COLLECTION

PHOTO: SCOTT PONEMONE COLLECTION THE DIRECTOR’S PDPS TOUR COMING THIS SPRING COMING THIS PDPS TOUR W BY NANCY PATZ BY NANCY home, Iwas about to find out. As Istood at the back gate of Doreen’s St. Paul Street T of The Baltimore Museum of Art, former Director of And what of Doreen Bolger, recently retired Director his ni Wh y The Metropolitan Museum of Art? What kind of art do former Curator of American Painting and Sculpture at h o e u at books do you think poet John Barth has on Rh im gh o agine she has inher house? Fleisher listens to at breakfast? de Island School of Design (RISD)Museum, t h t a at music do you imagine pianist Leon b l e? She’d co-curated abig exhibition at the Met called as well the expanded African and Asian Galleries. C supervised the renovation and reinstallation of the all, Doreen has many areas of expertise. She’d It c M wallp above—that’s what Ifound. “ A In P Wh enthusiastic encouragement of local artists. one, Jacobs, Contemporary and American galleries, natural and joyous coming-together of allthe o v ould include almost anything, Ifigured. After o urs e kn ment. ment. a p ui e ers everywhere,” Doreen said. “It’s fun t w o w f An B h e a d a t ut kin sh y: Americans and the Aesthetic e d ’ s o well known for her f art I’d find inside! William Morris PHOTO: SCOTT PONEMONE Three pen-and-ink figure drawings by Larry Scott Three pen-and-inkfigure drawingsbyLarry Am whi other artworks on the living room wallsareblack and Those two colorful pieces arethe exceptions. Allthe m yellow. “Ithink the American flag should include the Gilliam’s red and white stripes arepurple and Baltimore artist above them. This stunning wallsculpture by in ashallow widewith aflat “V” black shield shape wall two bright orange wood beams diagonally join On the bold floral designs of the long dining room against it. wonderfully diverse contemporary art—displayed green background to the contemporary art—the everywhere, providing arich, warm, yellow/orange/ in quieter patterns, but yes, William Morris is Sometimes inbold floral patterns, sometimes to decorate from the William Morris palette.” by by yellow/orange/red many-layered pressed paper print There on asmall wallaretwo pieces: aglowing living room where strong color continues. one’s tracks and dramatically points the way to the • and white very much….” said Doreen.) marvelously different from the others. (“Ilike black ore colors,” Doreen said. Joyce Scott Joyce e figure drawings by In o t e rican flag-like print by : dr n e awings, etchings, lithographs—each one c lu s t er of small works, three pen-and-ink (with just few a jewels) and asquare Hermonie Only Larry Scott S am G both stops one in illiam in one frame– . W o rked into • • Timothy Horjus a Ac line inthe bottom section. Very intriguing indeed. angular, lone, one with upper section hard-edged a made to sell to benefit the Poe House. Above it hangs raven by small inkdrawing that demands close inspection. ross the room isamonumental, knock-out print of Roosevelt by Roosevelt by plenty of white space to contemplate both. calligraphy with the soft gray drawing and Roosevelt said or wrote, combining soft gray beautiful drawing Freel has written things A painting ingrays by An almost photographic, exacting, tall, flat so much unsaid. drawings inwhich the spare wash and line leave o f powerful small pencil portrait of Theodore a “I likeblackandwhite building? Soquiet, so sure. Gaia (AndrewPisacane) very much….”very has combined avery wet and washy Matt Freel Hermonie Only . Above the loose, Above which the artist —a corner 11 THE PRINT, DRAWING & PHOTOGRAPH SOCIETY OF THE BALTIMORE MUSEUM OF ART THE DIRECTOR’S COLLECTION 12 THE DIRECTOR’S COLLECTION

PHOTO: SCOTT PONEMONE drawing is In stark contrast to the looseness of the dragon her of her own house inProvidence. R books as wr the corner. (This isthe same David Macaulay who almost breathing dragon and asmall, tall house in An o l Nouveau-styleAbove Art acurvy chest hangs a o a The bird and the hand look blackly etched against Work ar n f ISD faculty, and the house inthe drawing reminds p ote and illustrated such architecturally precise e whites. o ge, freely drawn al t a h et .) Doreen met the when artist he was on the e powerful mixed-media hand holding abird. t r e s -knifey oil or acrylic textured background trong trong Castle Brendan Sullivan’s G , ai Underground a D h a an vid Macaulay g s o v e strong vertical strong and r the mantel—this The Way Things c h arcoal of an small, David Macaulaycharcoaldrawingofanalmostbreathingdragonanda • diverse as the on the art walls: And then there’s the sculpture: afew pieces as • s say ann t o p half tall, modeled in clay and baked. h his of finding this [open, contemporary] piece in this Broad’s in the floor has asmaller hexagonal sculpture leaning against the mirror. A Shaun Flynn’s tall houseinthecor ouncement: On awhite ground, bold black letters SOME THINGSSOME GOTTA TIME ENDSOME o an woman seen from the rear, about afoot-and-a si u t d se was built in1872. o d e ri . t c hink about the message here. Doreen comments on “the unexpectedness al p seductive figure stands on the mantel, l ace”—a reference to the fact that the ner . wooden hexagonal sculpture on . Jessica One must One PHOTO: SCOTT PONEMONE Print ofaravenbyGaia (AndrewPisacane) Brooks Kossover Doreen herself, and indeed, they do The draperies on allthe windows were made by • An tall son on blue by MICA-trained and artist gallerist dominant image was a tall, tall portrait of Doreen’s many works inmany media. Ilonged to linger. The above each other and filling the high wallswere Walking up the steep stairway was afeast. Stacked were created for previous houses. easy to make,” and some of them inthis house said she’s often sewn her curtains, that “they’re in long, soft peach, Nouveau-like Art folds. Doreen double portrait by d Briere and the real glass window out onto St. Paul Street. askew, so one looks simultaneously through it white-frame Gothic window that the artist There’s also atall, three-part, walk-through, in D o re came and placed himself. It’s slightly e n ’s bedroom: Astunning big colorful . Erin Fitzpatrick drape of Doreen’s beautifully, Ben I the framer’s,” she said. ar I Which means that her collection willbe changing. American artists to the Reginald F. Lewis Museum. paintings, drawings, and prints by African Doreen soon willbe donating some of these hung on afew big nails and sorted by color. partner to the patternsof Doreen’sbeaded necklaces, Bovie At our last stop, inthe master bathroom, a morning. she enjoys seeing her daughter first thing inthe it’s also anextraordinary likeness. She added that while “aesthetically the painting isabout pattern,” daughter and her friend. Doreen mentioned that hope she invites me back. n ound incorners, and “there areother things at oticed afew wrapped rectangles standing collage of cut-up fabric patterns isthe perfect Matt 13 THE PRINT, DRAWING & PHOTOGRAPH SOCIETY OF THE BALTIMORE MUSEUM OF ART THE DIRECTOR’S COLLECTION T S I U Q D N I L N

A EVAN V E LINDQUIST AN ENGRAVER’S ENGRAVER BY SCOTT PONEMONE

few years back. Then after I friended him on Facebook earlier this year, I saw his post of an image of the Hayter portrait. That's when I first contacted him directly. …” Yes, what attracted Shafer to Lindquist was his engraved portrait of Hayter, the subject of her planned 2018 BMA exhibition and catalogue—a quest that started to take shape after the BMA acquired an Atelier 17 print in 2007. His 2015 14 engraving of Hayter is part on his continuing series of engravings of engravers that began in 2006 and now numbers, by my count, 17 images. 5 1 0 2 , T S I Thanks to Shafer’s online monitoring of Lindquist’s U Q D N I

L series of portraits, the Museum purchased his N O R

A SW Hayter Engraves War last year. Asked why she H S : O T would want to include a portrait of Hayter in the O H P BMA collection, Shafer said, “I am pleased to be able Evan Lindquist to show the extension of Hayter's legacy all the way up to the present day.” INTRODUCTION As a thank-you for the BMA purchase, Lindquist While scanning the horizon for all things Hayter— made a gift of his 2009 engraving Gabor Peterdi that’s printmaker and Atelier 17 founder Stanley Engraves a Still Life. His generosity inspired me William Hayter (1901-1988)—Ann Shafer’s radar to contact him and seek out an email interview, to locked on Evan Lindquist. What attracted Shafer, which he quickly agreed. BMA Associate Curator of Prints, Drawings & Photographs, was not so much Lindquist’s 40-year tenure as an art, printmaking, and drawing professor INTERVIEW at Arkansas State University nor his appointment as Evan Lindquist certainly didn’t retire from printmaking Arkansas’s first Artist Laureate (2013-17). when he retired from ASU in 2003. His series of “I can’t recall the context in which I first saw his engraver portraits is a testament to that. Over his work,” Shafer said via email, “but I remember posting career he has had more than 60 solo exhibitions and his engraving Knight, Bird & Burin to my Tumblr a has received more than 80 awards in about 300 vi to present that feeling of adventure inmy YouTube chaos. It isanimportant balance to maintain. Itried al through burin-handling skill. If Iwere to rely on skill what Iwant to do as and anartist what Ican do wi copperplate. My entire field of vision isavista. Iplay In the act of engraving, my eyes areclose to the duplicate through any other medium or technique. of calligraphic qualities that would be impossible to natural characteristics. Thus, my images make use lines, and Iuse it inaway that emphasizes its The burin isanatural tool for making calligraphic [https://www.youtube.com/watch?v=MRFq5Y74TwY] t Years later, copperplate engraving was the answer a —an environment that appears and surrounds me them. Engraving ismy way of creating anew “vista" work results inbeautiful calligraphy. Iamnot one of There aremany expert engravers whose creative go fr pl to bring the calligraphy of elegance to the copper motionless. What struggle typeof was it for you requires the burin-holding hand to remain allbut movement andhand pressure, engraving while Calligraphy appears to arm beadance of I s emulate those lines, but mine were just childish I lines, flowing curves, and bold shades. Before … Depression and World War II restrained hispassion. He had wanted to be anartist, but the Great calligraphy to yourattachment to engraving? How important was yourfather's interest in and to hiscurrent series of engraved portraits. philosophy about engraving, to hisschooling, chronologically from hisearly influences to his In my November 2015 email interview, Iworked in over 70 public institutions. competitiveexhibitions. His prints can be found o c m crawls incrayon which Itried to perfect. Later s deo deo one, the vista would appear cold and dead or in at t ould read or write, Iwould lie on the floor and c I hin that environment. Astruggle ensues between oved on to making those lines with inkpens. His penmanship often consisted of calligraphic reating elegant lines. … e? Wh c om onemediumt re E van Lindquist Engraves Martin Schöngauer a t e at men i t. t. tal adaptation was requiredto o t he ot her? . engraving—did heoffer? he provide? What mental lessons—apropos to learning from him.What technical lessons did en I two books on the subject, S.W. Hayter's printmaking and introduced me to engraving. Iread J. Warren Brinkman encouraged my interest in University, Emporia, KS],Norman R. Eppink and love with printmaking. Incollege [Emporia State introduced us to linoleum block prints, and Iwas in fourth grade inEmporia, Kansas, teacher our art rubber stamps and astamp pad. When Ireached the lumber crayons. Imade prints with dozens of castoff yard, for example, old wallpaper sample books and home drawing materials, scraps, from hislumber During my earliest years my father would bring Who introduced youto engraving? What made youeveninterested inprintmaking? H forgotten inthe excitement of meeting the maestro. t p [at the University of Iowa] and showed himmy c surrealist image into the plate. After amonth of the Hayter and Heller books, and began cutting a t July 1960. She had taken teaching anart position in Sharon [Lindquist’s wife] and Imoved to Iowa City in of Gravure t told them inhissoft, heavily-accented voice: "Make teaching assistants appeared. He pointed to me and n The Maestro would choose prints to send to various levels, and we learned from everyone. Iowa it was anopen classroom for students of all for anyone who wanted to sit in. During my years at student. There were also afew full-class critiques recommend completely different ideas to the next suggest that one student should try something, but with each of us through private critiques. He might Every student was different, and the Maestro dealt printmaking major. … into the Iowa Print Group, and Iwas officially a hem closely. He asked some questions, now h his boy aprinter." That was my personal invitation ut understand yourteachers oneof was the late. He ran hisfingers over the cuts and studied a e e t graver Mauricio Lasansky. Tell meabout t ional exhibitions, and anassistant would cut the t p ing, Iwalked into Lasansky's first day of class urned and called out: “Jack, Virginia!” Two u blic schools. Ibought acopper plate, studied , and Jules Heller's Printmaking Today New Ways . 15 THE PRINT, DRAWING & PHOTOGRAPH SOCIETY OF THE BALTIMORE MUSEUM OF ART EVAN LINDQUIST T mats and package everything for entering the In your rules (in the 2010 Charles Kaufman article S I

U competitions. This routine provided a few lines for the Society of American Graphic Artists) you Q

D on our individual résumés and helped establish say: "Only a few lines should call attention to N I

L professional practices among the students. themselves and be recognizable as ‘calligraphic

N lines.’ " Yet some of your images emphasize

A Tell me about your set of rules for making V calligraphic lines—like the recent tree prints. E an engraving. Why is that? My "rules" are a combination of instinct and My personal definition of a calligraphic line is any experience—perhaps meaningful only to myself. line that stands out and shouts: "Look at me. I’m My goal is to keep from getting into a rut. I know beautiful!" But how many "beautiful" lines would what has worked for me in the past, and lots of it take to throw a composition into chaos? A few things didn't work. But rules should be broken. calligraphic lines might strengthen and support Break any rule and it may provide variety to the each other, but too many of these lines would fight work process and remind me that I should consider each other for your attention, becoming ridiculous alternatives to the rule. The most important rule is or chaotic. that I must embrace failure as part of a creative process. In other words, try something that might An example that illustrates this is my engraving, Tree not work, and then enjoy figuring out how to use (2014). A Japanese maple tree in front of my studio any unintended result. was the inspiration. In the first state of the print,

16 Y Y N N , , A A G G A A V V / / T T S S I I U U Q Q D D N N I I L L N N A A V V E E © © Evan Lindquist, American, born 1936 (LEFT) Tree, state I, unique proof, and (RIGHT) Tree, state IV (finished state) Tree, 2014, ed. 25 Burin engraving. Image size: 10 x 6.1 inches. Paper: Rives BFK every line has strong calligraphic qualities. The lines But it took many years before I could settle on a plan T S I in the trunk are closely related, working together as that would have continuity. A tentative step into the U Q a unit, forming a unique linear shape. In contrast, series was Knight, Bird & Burin (2006). This led to D N I

the foliage is a chaotic mess—too many lines, each Albrecht Dürer Engraves His Initials (2008), which L begging for attention. seemed to be a good entry into a new series. Dürer N A V

was followed by Claude Mellan Engraves a Self- E The finished state of Tree shows hundreds of new Portrait (2008). I saw potential for more old masters. lines—straight lines, not calligraphic—that work in groups. Collectively, they describe shape, value, and space, organizing the earlier chaos into forms that suggest foliage. Each clump is enriched by a bold calligraphic line lending rhythmic character to the composition. This example demonstrates that engraving a plate is a continuum. I begin each project with simple steps, then climb upward as the next step pops into my mind. Tell me about your series of engravings on engravers: why, when and how it began, who was chosen and why. When I became interested in engraving in the 1950s, I was not yet aware that the history of engraving D O O H

consisted of life stories of some old master engravers. O R T I M

I discovered that much of the information about : O 17 T O H them had been forgotten. Indeed, by mid-20th P . Y N , century, the entire medium of engraving was often A G A V /

dismissed as a "lost art." I was determined to "find" T S I U Q it for myself. D N I L N A V E

Rather than considering engraving to be a "lost art,” , 5 1 0 I considered it to be a "forgotten art." The postwar 2 © T

crop of printmaking teachers simply "forgot" how Evan Lindquist (American, born 1936) R A

SW Hayter Engraves War, 2015 F to teach engraving to younger generations. Even Engraving; printed in black (intaglio) O M

Sheet: 388 x 310 mm. (15 1/4 x 12 3/16 in.) U worse, the entire concept of printmaking was being E S

Plate: 278 x 207 mm. (10 15/16 x 8 1/8 in.) U regarded as an inferior form of art. Few contemporaries Purchased as the gift of an Anonymous Donor M E BMA 2015.173 R seemed to understand complex creative processes. O M I T L

Newer and faster processes took the place of A

A recent print in the series is SW Hayter Engraves B E

engraving in art studios and classrooms. H

War (2015). Hayter had been taught to engrave T F O

S.W. Hayter attempted to revitalize engraving by copper plates by Jozef Hecht, a Polish engraver. Y T E I teaching it to many important "new masters,” such During the Spanish Civil War, Hayter produced prints C O S as Gabor Peterdi, Mauricio Lasansky, and others, to raise funds for the Republican war effort opposing H P A R at his Atelier 17 in Paris and New York. the Nationalists, but after the bombing of Guérnica in G O T

1939, the forces of Francisco Franco, supported by O H

About 1980, I complimented Warrington Colescott on P

Hitler, took over the government of Spain. Nazis took & his series of prints called The History of Printmaking. G N control of France. In 1939, Hayter moved his Atelier I W Warrington said, "Why don't you do the same thing A R

17 to New York City and taught many contemporary D , for engraving?" Yes! That's what I wanted to do! T N artists to engrave. Hayter is best known for many I R P E

technical print innovations, but my engraving is H T T S I U Q D N I L N A V E D O O H O R T I M : O T O H P . Y N , A G A V / Evan Lindquist (American, born 1936) T S I

U Gabor Peterdi Engraves a Still Life, 2009 Q D N

I Engraving; printed in black (intaglio) L N

A Sheet: 369 x 299 mm. (14 1/2 x 11 3/4 in.) V

18 E , Plate: 266 x 195 mm. (10 1/2 x 7 11/16 in.) 5 1

0 Gift of the Artist 2

© BMA 2015.174

focused upon his humanitarian war effort on behalf than burin engraving. In this print I've incorporated of the people of Spain. some small areas of drypoint—scratching into the surface with the point of a needle. The Maestro A print closely related is Gabor Peterdi Engraves a encouraged experimenting with a variety of Still Life (2009). This great Hungarian printmaker processes to find new approaches to technical or fled to America, became an American soldier and aesthetic problems. I show him as he describes returned to Europe with U.S. forces. Peterdi was to me the importance of both the scraper and influenced by the horrors of Nazi atrocities when burin in the process of engraving—try anything he engraved his biting satire, Still Life in Germany with burin and scraper. (1946). In the depressingly chaotic lines of the dark background in my engraving, I've woven He had a love for fine, traditional, old presses, "1938" and "1946", referring to Peterdi's years of and every discussion of print aesthetics always despair and horror. included "print quality,” how well the plate was printed, how the press was used, how the paper The most recent print in the series is Mauricio was prepared, how the ink was ground and applied. Lasansky Teaches Me to Engrave (2015), a Yes, we ground our own ink from dry pigments. composite of memories. At this point it is the only I've alluded to all of these memories in my print one in the series that includes a medium other by showing the presses. T S I U Q D N I L N A V E Y N , A G A V /

T Evan Lindquist, American, born 1936 S I U

Q Mauricio Lasansky Teaches Me to Engrave, 2015, ed. 25 D N

I 19

L Burin engraving with drypoint. N A

V Image size: 13 x 11.3 inches. E

© Paper: Rives BFK

Every critique with Lasansky would relate to the Old What has been the advantage of concentrating

Master printmakers. The two bulls are reminiscent on one particular medium over so many years? T R A F

of Goya, whose legacy was nearly always brought Why are you still in love with engraving? O M

into a critique and seemed always appropriate as U E

This is what I was meant to do. It is what I do best. S U

an exemplar. There were framed Goya prints in the M

While engraving I find myself within the copper plate. E R

studio. Goya was never forgotten, but conversations O M I T also included Rembrandt, Picasso, Tiepolo, and other Each time I work with the burin, it is a new adventure. L A B

masters. E H T F O

It is significant that the bulls are on the left side of Y ONLINE T E I

the Maestro's head. He often said that, no matter C O Lindquist website: http://evanlindquist.com S what he might be doing, the upper left side of his H P A R

brain was always thinking about his current project. Evan Lindquist article by Charles Kaufman: G O T O

http://evanlindquist.com/about/article-kaufman.html H

What are your current print projects? P & G

Engraving links including YouTube videos on N For my next engraving I agreed to begin a self- I W A

Lindquist website: R

portrait for a museum exhibition next year. Early in D , http://evanlindquist.com/about/burin.html T N the year I'll also begin background research on my I R P

next Old Master engraver. I always seek new ideas. E H T 20 TAMING THE GARRETT COLLECTION

PHOTOS: RENA HOISINGTON Figure 1 Collector Mark of James Lawrence Claghorn (1817-1884) Collector MarkofJamesLawrenceClaghorn COLLECTION GARRETT TAMING THE W historical breadth! motto for acollection of such extraordinary art Latin words in red ink,comprises hisinitials encircled with the 19th centuries. His collector’s stamp, usually printed American prints ranging from the late 15th to the late Western printmaking—a collection of European and late 1840s. His goal was to assemble asurvey of Fine Arts. Claghorn began acquiring prints inthe and president of the Pennsylvania Academy of the James Lawrence Claghorn (1817-1884), abanker The collectionwas initially formed by the Philadelphian beyond expectation”) BY REN A H O ISINGTON, SENIOR CURATOR OF PRINTS, DRAWINGS &PHOTOGRAPHS ANDDEPARTMENT HEAD collection at The Baltimore Museum of Art. constitutes the backbone of the print ith 20,000 prints the Garrett Collection insperata floruit [Fig. 1] . (“it has flourished What anappropriate Collector Markof Thomas HarrisonGarrett(1849-1888) Figure 2 comprises hisinitials, printed inblue Garrett began adding to the collection—his stamp whose family owned the Baltimore &Ohio Railroad. Harrison Garrett (1849-1888), aprominent banker for Baltimore it was purchased en masse by Thomas to what would happen to hiscollection. Fortunately At the time of hisdeath there was great concern as of Rembrandt and the engravings of Johann Georg 1886, was anin-depth examination of the etchings the history of printmaking; the second, inOctober Institute: the first, inJanuary 1886, was asurvey of his collection to three exhibitions at the Peabody of Dresden, Germany. He also lent prints from room modeled on the famous Kupferstich-Kabinett Murray Lee, to build at Evergreen (hishome) aprint made arrangements, with hiscurator John Wesley [Fig. 2] —and cataloguing information for each print this time orange index cards were typed up with of which was undertaken in the 1930s. During c inventoried and catalogued through numerous giving it in1946. The Garrett prints have been print collection on loan at the Museum, formally and Drawings, the Garrett family placed the entire M In 1 y h amb o comparative study of the printmaking techniques wooden card catalogue drawers inwhich they are substantial—record of the Garrett prints. The these orange cards have been our main—and only solander boxes and flat file drawers.) For decades transferred to acid-free folders and stored in in portfolios, and then over the years they were the time, the Garrett prints were initially stored portfolio number. (Like many print collections at inscriptions, watermarks, and collector marks; and name, nationality, and dates; title; date; medium; Will ampaigns over the decades, the most extensive achting accident. f o useum’s newly-appointed and first Curator of Prints w e e 930, under the guidance of Adelyn Breeskin, the ngraving, etching, and mezzotint. Garrett’s e i ; t v i an o e u r , d s b PHOTO: RENA HOISINGTON plans for the collection were cut short, t y h (BMA 1946.112.7853) Cataloguing CardfortheBMA Figure 3 his un e t hir d, inFebruary 1888, was a timely death inJune 1888 ina ’s impressionofRembrandt’s drypoint [Fig. 3] : artist The Three Crosses Alb c which arearguably the most important of the part countries. prints, as well as prints from other European American prints; and French, Italian, and Spanish to nationality: Northern European prints; British and project inthree stages or sections, divided according decided it would make more sense to tackle this prints. Given the size of this collection, however, we funding to support the cataloguing of the Garrett (d Simpson, Project Cataloguer for the Lucas Collection Library Services (IMLS) to fund the work of Nicole federal grant from the Institute for Museum and Our recent success inapplying for and receiving a accession numbers, much less catalogued. s Newsletter o o inc ini g use; the cards themselves bear annotations made by W o t e f f o escribed inthe spring 2014 issue of the PDPS ll e nerations of curatorial staff. But this cataloguing t o reproductive prints (prints made after the works re o re i e a t b m h c t d c e iv t e p ht Dürer, Hendrick Goltzius, Rembrandt van i in t gan with the Northern European prints, r on, including deep holdings of prints by e, like those that followed it, was inevitably l et artists) that were not even assigned from theGarrettCollection h e ), encouraged us to apply for comparable e . In p D epartment are well worn from years of ar ticular, there were large numbers 21 THE PRINT, DRAWING & PHOTOGRAPH SOCIETY OF THE BALTIMORE MUSEUM OF ART TAMING THE GARRETT COLLECTION 22 TAMING THE GARRETT COLLECTION Etcher e R Early Modern Europe Im inc wi Collection of Victorian Illustration, as well as assisted and catalogued the 1000+ prints inthe Hartley Boston from 1998 to 2004, where she researched a K received alarge number of applications, but Joanna in the fall of 2014. We advertised the position and a We learned that we were the fortunate recipients of Wallach Gallery Art at Columbia University. to Robert Fucci’s incredible last November willremember the loans we made Those of you who joined our day-trip to New York here and at other North American institutions. art have also been included innumerous exhibitions Northern European prints from the Garrett Collection Departmentof Art at Johns Hopkins University.) Walter S. Melion, along-time professor inthe History mention should also be made of the scholarship of Kimberly Schenck, and Tom Primeau. (Special Dackerman, and paper conservators Elmer Eusman, of thepart Museum’s curators, particularly Susan collection has inspired extensive scholarship on the Rijn, and Johann Georg Wille. This of the part a W Joanna has her BA inthe History from of Art Mary his kn reasons. There is, for starters, Joanna’s extensive in exhibition involvement inthe planning stages of Susan’s 2011 she workedwith Susan Dackerman, including her Museum at Harvard from 2006 to 2008 where position as aCuratorial Assistant at the Fogg Art experience from several museums, including her there isJoanna’s impressive range of curatorial “Frederick Sandys and Victorian Illustration.” Then Bris her PhDinthe History from of Art the University of xhib p a arl a Research Assistant at the Museum of Fine Arts in second Collections Stewardship Grant from IMLS th various aspects of numerous exhibitions, M o p s pressions shin t lu wl si eared inthe accompanying catalogue. o g t u ol inEngland, where she wrote her dissertation r din a i s e y e tion tion ar . e ur dge of the history and of art, especially the gton College inFredericksburg, VA; her MA o In fact Joanna co-authored, with Tom um S d’ g , f s t C p R Prints and the Pursuit of Knowledge in he chronology of the artist’s life that rin lif a e p t mb e f u plication stood out for anumber of tm xhibition at the Miriam and Ira D. Ac dies from Syracuse University; and randt’s Journey: Painter, Draftsman, aking, culled from her education. kl ey’s 2003-2004 traveling . Before that Joanna worked as Rembrandt’s Changing c an the German prints!) Joanna’s meticulous, thorough, cataloguing project, having tackled almost allof t the Garrett Collection. (Indeed it ishard to believe by Dutch, Flemish, German, and Belgian artists in E invaluable. Thanks to her work, every Northern in December 2014 for Northern European Prints inthe Garrett Collection Dr Sh Garrett formed this collection. It isalso, in the case to gain abetter understanding of how Claghorn and gathering of this provenance information enables us marks (http://www.marquesdecollections.fr/). The with that of the Frits Lugt database of collector cross-referencing database our in this information majority of prints inthe collection. She isalways stamps, mentioned earlier, which appear on the stamps areinaddition to the Claghorn and Garrett different collector’s marks on 214 prints—these 83 December, Joanna has identified and recorded 83 re cataloguing the collector’s marks that appear on the Joanna has made great strides inidentifying and info location. There isalso much inthe way of new number, in-depth cataloguing, and anup-to-date h a ur verse side of many of these sheets. Asof early a a t e d aloguing, and researching more than 8,000 prints t o win rmation with regard to printers and publishers. began working inthe BMA Department of Prints, sustained attention to these prints has been p Joanna isalready halfway through her two-year e g an Garrett print willhave anaccession s & Photographs as the Project Cataloguer [Fig. 4] . She isinventorying,

Kress StudyRoom catalogues printsinthe Joanna Karlgaard Figure 4 PHOTO: MORGAN DOWTY PHOTO: MITRO HOOD inc G the main way for us to determine which prints the famous authors Jacob and Wilhelm) as those by Ludwig EmilGrimm (younger brother of the collection’s 19th-century German etchings such working with the lesser-known material, for example, hasthat been particularly interesting to me is Martin Schongauer. But one aspect of the project artists such as Albrecht Dürer, Daniel Hopfer, and course, this includes prints by many well-known exceptional range of the collection’s holdings. Of I has focused on cataloguing the German prints. a prints. “Working with the Garrett collection has been discovery working through the Garrett German For Joanna it has been apleasure and aprocess of This project has given me anopportunity to learn Saint Christopher Francis, 5th Duke of Buccleuch (Lugt 402), including t o Saint Christopher Albrecht Dürer(Ger Figure 5 BMA 1946.112.5761 Garrett Collection (45/8x215/16in.) 118x74mm. Plate: (43/4x31/16in.) 121x77mm. Sheet: Engraving he Garrett stamp along with the stamp of Walter have been busily studying and documenting the f arret wonderful experience. My first year of the project p lu rin d e t t s s a t 1 cquired for the collection. Joanna’s list h 0 1521 , a man, t im o p nly have Garrett’s stamp on the verso, 1471-1528) ressions by Dürer, allof which have and Saint Philip (Figures 5&6) [Figure 7] . .

PHOTO: MITRO HOOD m c fo strategies, and to think more generally about the BMA 1946.112.2064 Garrett Collection (33/8x5in.) 85 x127mm. Plate: (65/16x73/4in.) 160x197mm. Sheet: Etching anddr The SongofBettinevon Arnim 1790-1863) Ludwig EmilGrimm(German, Figure 7 BMA 1946.112.5752 Garrett Collection (413/16x3in.) 122x76mm. Sheet (trimmedwithinplatemark): Engraving Saint Philip Albrecht Dürer(Ger Figure 6 o o rm ll re a e c a t tion and organization of such large print i b 1526 , ons inthe 19th century.” o ypoint ut C man, l a ghorn and Garrett’s collecting 1471-1528) 1819 ,

PHOTO: MITRO HOOD 23 THE PRINT, DRAWING & PHOTOGRAPH SOCIETY OF THE BALTIMORE MUSEUM OF ART TAMING THE GARRETT COLLECTION 24 BROOMBERG & CHANARIN: OPTICS & CONFLICT

PHOTO: BASIL DAVIDSON CONFLICT OPTICS & BROOMBERG &CHANARIN: A t photographers. However, inthe course of their work their careers as relatively traditional documentary an d also began to question the relationship between of power between photographer and subject. They BY UR h oc e d y umentary photography and human suffering. As S w UL became concerned with the uneven balance o A rking inLondon. Both trained and began d London, UK)are artistic collaborators living South Africa) and Oliver Chanarin (b. 1971, WE am Br ST MINERVINI o o mberg (b. 1970, Johannesburg, *All quotes arefromavideocreatedby The Centre forContemporary Art im Chanarin confront weighty issues with compelling media inaddition to photography. Broomberg & a mind, their current work frequently aims to subvert to witness that.”* With this disturbing notion in h to the sights of suffering …wherever violent things as aperson, isfascinated by suffering and isdrawn t Ujazdowski Castleinconjunction withtheartists’2015exhibition, h ut a e p a h pen, photography isthere. Photography wants ar gery and anundercurrent of mischief. Their ority and has come to embrace avariety of t ists describe it, “Photography, ifyou think of it Broomberg &Chanarin. known collectivelyas and OliverChanarinare Adam Broomberg(right) Rudiments . COURTESY THE ARTISTS AND LISSON GALLERY, LONDON explored through their work arecomplex, the artists p quite extensive and provides detailed historical and info T b w Broomberg &Chanarin Untitled (FusedBullets 2) South African, Broomberg &Chanarin(AdamBroomberg, Baltimore Museum The of Art. exhibition, by Broomberg &Chanarin willbe featured at The From April 13 to September 11 arecent body of work discoveries. experience, investigation, and openness to chance research, which iscombined with first hand process begins with conversation and extensive Whil exhibition and provided images and other resources. Ann Shafer generously shared her writing on the t be displayed isstill overseas, and Ihave not yet had As Iwrite this article at the end of 2015, the work to centers on themes of warand militarism. these works deal with adense web of ideas that sculpture, and ashort film. Viewed incombination, includes photographs, incised copper plates, Broomberg &Chanarin inthe United States. It This isthe first solo exhibition of works by Associate Curator of Prints, Drawings &Photographs. wh ample substance for the viewer to react purely to 70 1/2x88in C-type print he opportunity to view any of it first hand. However, born 1970; Oliver Chanarin, British, born 1971) born British, OliverChanarin, 1970; born h ackground of the objects they present isshared. o o e li a rk ism tical context for their work. Though the issues rm im t e t h the visual presence of the work provides p a e o t i y rtance that the artists place on sharing this o o n s s ee before them, Broomberg &Chanarin’s is illu t m , e 2015 anin s t rated by their website, which is gful wh , is curated by AnnShafer, en the historical Front Room: Front titled is ane In contrast to the hyper reality of these photographs m sh and perhaps emotionally. Seen inthis context, the distancing themselves from their targets physically, war m sights. While the Civil War battles that produced the m also of brutality inseeing these bits of lead forcibly two soldiers. There isasense of the miraculous but imagined, this collision may have spared the lives of occurrence: two bullets colliding inmidair. Poetically battlefields. They were formed as the result of arare actually fused bullets recovered from Civil War objects arerevealed. What seem to be boulders are shifts and deepens when the identities of these crystalline forms. However, the message of the work coarse, age-worn masses and unblemished here, the viewer makes visual comparisons between edged prisms. Knowing nothing of what isdepicted amorphous boulder-like masses with pristine, sharp- These sharply focused black-and-white images pair this exhibition areaseries of large photographs. For me, the most immediately accessible works in conclusions. leaving space for the viewer to form independent are generous both insharing information and in Untitled (Prism2) 70 1/2x88in C-type print robr hnrn(dmBomeg South African, Broomberg &Chanarin(AdamBroomberg, born 1970; Oliver Chanarin, British, born 1971) born British, OliverChanarin, 1970; born elded bullets were fought at close range, inmodern e an ar lded. Incontrast, the prisms arepainstakingly f p-e are o uf The Behavior and Misbehavior of Light a ni d c gm ged prisms seem cold and dangerous. t p ured optical components used ingun t , ical tools have assisted soldiers in 2015 atic series of small copper plates . In

COURTESY THE ARTISTS AND LISSON GALLERY, LONDON 25 THE PRINT, DRAWING & PHOTOGRAPH SOCIETY OF THE BALTIMORE MUSEUM OF ART BROOMBERG & CHANARIN: OPTICS & CONFLICT 26 BROOMBERG & CHANARIN: OPTICS & CONFLICT

COURTESY OF THE ARTISTS AND LISSON GALLERY, LONDON described inKurt Vonnegut’s novel by the German military. After the war, Zeiss materials Fiv Z di historical context. The images on the plates recreate large photographsemerge when they aregiven a Conceptual linksbetween these objects and the the imagery. careless handling could easily damage or destroy lines, leaving the plates at afragile stage where However, the artists have stopped at the incised then be cleaned and used to produce intaglio prints. would bite lines into the copper. The plates could be etched, they would be placed inanacid bath that reveal the bright copper below. If the plates were to have been incised through the waxand soot to a surface with soot (atraditional method of preparing beeswax and then held over aflame to darken the large photographs. The plates have been covered in rectangles, lacking the immediate visual allureof the Castle inWarsaw they appear as arow of small black photographs of the installed exhibition at the Ujazdowski Z contained nonotable military presence, though the destroyed, and many citizens were killed. Dresden W e e copper plate for etching).Simple geometricdiagrams a ar I is is e grams of prisms and lenses produced by the s s , I alli . Ik Ik C o on factory produced optical equipment used e ed forces firebombed Dresden during World n ntral sections of the city were utterly f actoryDresden, in Germany. Asfamously Slaughterhouse- c u played acritical role inbattlefield communication, e 1 through two archetypes, the drummer boy and the human experience of militarism and violence of warfare, Broomberg &Chanarin also investigate plates refer primarily to the tools and technologies While the large photographs and incised copper photographic and military technologies. on the copper plates call to mind linksbetween to photographers. The Zeiss diagrams inscribed weaponry, Zeiss and Leica arealso names familiar And, while Zeiss lenses areassociated with enabled violence to be carried out from adistance. depict atechnology of delicate precision that damage of war. The fragile images themselves and ash of afirebombed city, the immediacy and surface of the copper plates evokes the flames relation to the attack on Dresden, the smoked belong to the archive of the Leica factory. Seen in were seized and used by Russia, and they now bouffon dr (In early military conflicts tradition held that the represents childlike innocence inthe midst of war. However, drummers also served to enforce military o nlis 9t sing different drumming patterns to signal military umm mm h t century, children as young as seven were e an d e . r t In amilitary practice that lasted into the d o b s. Symbolically, the drummer boy oy would be spared when possible.) s erve as drummer boys. The drummer Drummer Boys Broomberg &Chanarin Installation viewofintheexhibition Center forContemporar British, born 1971) born British, bor South African, (Adam Broomberg, jzosiCsl,Warsaw Ujazdowski Castle, Rudiments n 1970; 2015 , Oliver Chanarin, (68 total) y Art, concealed, and her body iswrapped, draped and of apaneled room, her head and face arealways an m and gathered material for ashort film, titled English military camp on the outskirts of Liverpool them into collision. The artists gained access to an these archetypes, Broomberg &Chanarin brought his or her society. To explore the contrast between force that mimics, amplifies and distorts elements of b disruptive inamilitary camp populated by children, vul camp. Her improvised performance, which isoften drummer boy and Broomberg &Chanarin created visual hybrids of performed. being that echos the the echos that are distorted and concealed under lumpy white clay figurines of drummer boys. These idealized figurines mili body-distorting costume the t rudiments used inmilitary drumming. More broadly, children and adolescents practice the percussive elements or principles. Atthis military camp, we also understand rudiments to be fundamental complex percussive sequences. Incommon speech which arerepeated and combined to create more b footage of camp activities as well as scenes staged the the The Follies Rudiments bouffon quo, representing both order and innocence, the While the drummer boy seems to support the status induce fear, create order, or drown out dissent. The sound of adrumroll can provoke anticipation, discipline and convey asense of the army’s might. series of twenty-two 8x10 inch photographs, titled c and her costume, display another aspect of this of the Br element inthe form of a turned h haracter. While the modified drummer figurines y ut als oc ey arealso indoctrinated inthe rudiments of o d gar and sexually suggestive, seems particularly the artists incollaboration with the young cadets. o t bouffon ks t ar pathos. The figure isisolated inthe corner mb y bouffon o bouffons , h e dis i a t e rg &Chanarin introduced ananarchic calls into question the official activities mocking clown or jester, isadisruptive . . highly regimented world of the military c Rudiments arebasic drumming patterns, These images, featuring the performer ip evokes asense of beauty, discomfort line. The filmincludes documentary bouffon’s is isolated for closer attention ina are clumsy yet playful, in bouffon bouffon padded costume. The figure by modifying collectible bouffon . Wearing abulbous, observes and The Follies from the beginning to the end isatotal mystery.” s work begins with aconversation and it ends with photographic series photographs to echo Hans Bellmer’s 1934 body at all. Visually the artists intended these contorted. Often it ishard to tell ifone isviewing a h a because there’s two of us, we can’t just kinda pick up wi wi Castle, Broomberg &Chanarin explain, “We do begin Broomberg and Chanarin’s UjazdowskiArt Castle inconjunction with V and-pain/ a from to prints by Francisco de Goya. Their title isborrowed h h Oliver Chanarin talk to Kaja Pawelek COMEDY ANDPAIN: Adam Broomberg and http://www.broombergchanarin.com/ Broomberg &Chanarin’s website: composing this article. Afew arelisted below: a In addition to AnnShafer’s writing for the exhibition, ANDREFERENCES RESOURCES c than being lectured to, Iwas invited to enter a remain broad. Inviewing their work Ifelt that rather that the paths available for interpreting the work and associations offered and implied isso complex so varied and the web of historical facts, references, viewers to draw their own conclusions. The work is political and content rich, it also leaves space for 1815 and 1823. and enigmatic series of etchings made between body parts intheir photographic study of the German fascism. They also relate the jumbling of among other things, was made inopposition to Although Broomberg &Chanarin’s work isblatantly o omething like what’s inthat room, but how we get i t a t t d camera and go and snap, snap, snap. We have to number of sources were extremely helpful in tps://youtu.be/qp6HDgXfB6s tp://b t th research, that’s where we start. And we begin nversation. Describing anexhibition of their work v T eo produced by The Centre for Contemporary h e h n e The Follies (Los Disparates) a arr C c roombergchanarin.com/text/comedy- e onversation about it.” They continue, “Our a n tives, we’re very interested inhistory, but tre for Contemporary Ujazdowski Art The Doll (Die Puppe) Rudiments , Goya’s disturbing : , which, bouffon 27 THE PRINT, DRAWING & PHOTOGRAPH SOCIETY OF THE BALTIMORE MUSEUM OF ART BROOMBERG & CHANARIN: OPTICS & CONFLICT 28 GEORGE ALOYSIUS LUCAS, A BALTIMOREAN IN PARIS

PHOTO: MITRO HOOD A LUCAS,GEORGE ALOYSIUS BMA 1996.48.15167 The George (111/8x913/16in.) 283x250mm. Sheet: Pen andblackinkovergraphite otato ereA Lucas Portrait ofGeorge A. Eugène JoseMacedodeCar and corporationsthroughouttheBaltimorecommunity foundations, andcontributionsfromindividuals, Laurence andStellaBendannFund, IN PARIS A. ua olcin purchasedwith fundsfromtheStateofMaryland, Lucas Collection, BALTIMOREAN 1880 , ah Fec,1854-1928) valho (French, W collecting practices. Simpson says, “The George A. of the BMA’s collection and of Lucas’s Parisian Public Library. She willexplain the unique aspects Avery Collection as aPrint Specialist at The New York BMA. She formerly worked with the Samuel Putnam Cataloguer of the George A.Lucas Collection at the Simpson historian isanart and the Project during the 20th century.” how it survived and shaped the culture of Baltimore re book book p Sim The presentations by Mazaroff (February 27) and and have truly interesting information to share. Sim its focus, with Stanley (Stan) Mazaroff and Nicole PDPS winter seminar series this year has Lucas as however, still much to be learned. Fortunately the seen exhibitions that include works from it. There is, have heard of the Lucas Collection, and we have areveryof Art familiar with hisname. We certainly & an answer. But most members of the Print, Drawing 19th century—you may get abewildered “huh?” for Lucas—George Aloysius Lucas, who lived during the you ask whether they have heard of the other George “Sure, he made allthe Star Wars movies.” And then if George Lucas, you could get aresponse such as: a an history of the Lucas collection—how it was acquired its own. My book isintended to provide acultural L says, “isnot strictly abiography of Lucas. Following o information about Lucas’s life and regarding the fate biographical research revealing some truly exciting collection.his art He willpresent anoverview of his book, which Ihave entitled BY EVELYN COGSWELL ucas’ death, hisenormous collection had alife of f o n c Photograph Society of The Baltimore Museum in his c d d e p pson as our presenters. Both areLucas experts t n cared for by Lucas during the 19th century and Connoisseurs s s Henry Walters and Bernard Berenson: Collectors tl on (March 5)willbe based on very different o y ollection following hisdeath in1909. “My f c vi recently, whether they have heard of If you ask some young people, as Idid hat do we know about George A.Lucas? ompleted abook manuscript on Lucas and e w and experiences. Mazaroff, whose wa s p ublished in2010, has Saving Lucas ,” Mazaroff Mazaroff, inhissoon-to-be-published book of independent means, but he was not wealthy. ar o but very quickly he began to appreciate the richness age of 33, he was neither nor anartist acollector, dream. When he journeyed to Paris in1857 at the have been written about that period. Lucas lived that century. Many books, both fiction and nonfiction, like to live inParis during the second half of the 19th loversArt may dream about what it would have been and dealers.” and the personal relationships he had with artists firsthand hisextraordinary connoisseurship skills the more than 15,000 prints box by box, Iwitness have been cataloguing the collection. Going through by the intimate connection Ifeel with Lucas as I me to the position inBaltimore. Ihave been delighted century printmaking, and its superb reputation drew Lucas Collection iswell-known inthe field of 19th- an Johan Barthold Jongkind, Jean-François Millet Baptiste-Camille Corot, Charles-François Daubigny, wa w was arevival of the woodcut. Furthermore, prints F Daumier, Paul Gavarni, Ignace-Henri-Jean-Théodore lithography were coming into favor by Honoré Luca C W of wealthy collectors, including William and Henry L collecting. Maxime Lalanne’s I same artists were quite affordable. priced well out of Lucas’s range, but prints by the respected artists of the time. The paintings were o landscapes and also making etchings inthe village in 1 w t an ucas to become amuch trusted agent for along list f f o e e al was atime of renewed interest inprintmaking and t r t B d re b re purchasing French paintings by the most is s c h t t 878. The pre-Impressionists were painting arb o T in e e ts including Édouard Manet, Mary Cassatt, p s, tells of the serendipitous events that helped h r rs u -Latour and their followers. Inaddition, there o an é e i b pportunities at hand. Lucas was agentleman zon. Prints became available by Jean- , odore Rousseau. Lithography and transfer in lish , Sam g an p ed in1855, with asecond edition d r u oduced by many other important Willi el Putnam Avery, William Wilson am H enryVanderbilt. His clients A Treatise on Etching Saving 29 THE PRINT, DRAWING & PHOTOGRAPH SOCIETY OF THE BALTIMORE MUSEUM OF ART GEORGE ALOYSIUS LUCAS, A BALTIMOREAN IN PARIS 30 GEORGE ALOYSIUS LUCAS, A BALTIMOREAN IN PARIS t Collection. The journey from Parisian artists’ studios There isanexciting history surrounding the Lucas o with allthings French and especially French One art. Am included original prints. such as Henri Beraldi’s publicized and well attended, and publications held popular openings. auctions Art were highly dealers such as Paul Durand-Ruel and Alfred Cadart Buhot, Félix Bracquemond, and Auguste Lepère. Print James A.McNeill Whistler, Charles Meryon, Félix survived aterrible fireinLucas’s apartment that easy one. InParis, the collection miraculously from her work with the NYPL’ a studies inChicago and New York, Simpson acquired obtained through Lucas. Through her university Public Library, consisted of some 18,000 works collection, which he later donated to The New York re dealer, Samuel Putnam Avery, who had ahighly a she has made during her work with the objects collection and about some of the discoveries At the seminar she willbe talking about the BMA’s became very familiar with the name George Lucas. o c f strong knowledge of the of this art period, and g cumulated by Lucas and now at the BMA. Lucas’s clients was the very well-respected art Baltimore and eventually the BMA was not an e ar “Going throughthemore relationships hehadwith ri ded gallery inNew York. Avery’s personal c ans during this period were very impressed connoisseurship skills I than artists anddealers witness firsthandhis and thepersonal box by extraordinar 15,000 prints Les Graveurs du XIXe Siècle s Avery Collection she y , . ” life. He kept avoluminous diary, and while it records Fortunately, Lucas was very organized inhisdaily in a The Lucas Collection contains avariety of objects drawings, sculptures, paintings, and photographs. re immeasurably advanced by the acquisition of this a add substantial funds to its endowment, ensuring it had had on loan for many years. MICA was able to was able to purchase the paintings and sculptures acquisition of the collection. Inaddition, the Walters Society raised more than $100,000 toward the No.2 reported that members of the Print and Drawing gr p be properly cared for and made available to the building inWyman Park, where the collection could not allthe paintings, was transferred to the new BMA the collection, including the prints and drawings but lack of aproperly guarded space. In1933 most of At MICA the collection suffered neglect due to the Mt. Royal Avenue had been built to be fireproof. burned inthe Baltimore Fire, but the new building on possible. The original MICA building downtown had be given to the Maryland Institute, should that be but both men had agreed that the collection should Lucas actually gave the collection to Henry Walters, Lucas had discussed the deposition of the collection. under the watchful eye of Henry Walters, with whom legal issues, the collection was shipped to Baltimore After hisdeath in1909 and the settlement of various wanted to make sure hiscollection would be safe. well aware of the Great Baltimore Fire of 1904 and tragically claimed the life of hismistress. Lucas was i d In the early 1990s the Trustees at MICA made the t of Baltimore. The collection received more attention whi BMA over the potential sale of this great collection, disagreements among MICA, the Walters, and the collection. InApril of 1998 the PDS campaign to raise funds forthe purchase of the t including amajor grant from the StateMaryland of t han it had ever known. Alegal solution was found, h ecision to sell the collection inorder to strengthen u s flourishing future. The BMA’s collection was m o a blic. Eventually allof the paintings, except asmall sm u t c ddition to prints, drawings, and paintings. arkable collection of nearly 20,000 prints, p h enabled the BMA to mount asuccessful a all e h s a si d gned to the Walters, came to the BMA. n been left by Lucas to benefit the citizens dowment. There were substantial Newsletter Vol. XV, they came in. For preservation purposes he mounted photographs, artists’ letters, and even the envelopes prints, he collected newspaper clippings, catalogues, well as changes of paper or inkcolor. Related to the of the same work, including its progressive states as collecting as well. He often collected many variations with artists and clients. He was deliberate inhis auctions, and galleries, and it documents interactions collecting habits. It tells of visits to artists’ studios, no juicy scenarios, it does give us apicture of his our) collection. new light on this amazing collector and his(now will reinforce our present knowledge and shed much there ismuch more worth learning. The seminars Regardless of what you know about George A.Lucas, Lucas’ library. pieces as well as alarge number of books from work Simpson iscreating alist of allof these related many of these items on firmpaper. of her Aspart W (129 x92.5cm); 367/16in. 5013/16x W: H: Oil oncanvas P 1833-1922) Léon Bonnat(French, ortrait ofGeorge Aloysius Lucas (163.8 x126.411.4 cm) 4 1/2in. 493/4xD: 641/2x W: H: framed: alters r uem 37.759 Art Museum, , 1885 31 THE PRINT, DRAWING & PHOTOGRAPH SOCIETY OF THE BALTIMORE MUSEUM OF ART GEORGE ALOYSIUS LUCAS, A BALTIMOREAN IN PARIS The Baltimore Museum of Art 10 Art Museum Drive Baltimore, MD 21218-3898

PDPS EVENTS THIS SPRING

WINTER SEMINAR SERIES MEMBERSHIP HOTLINE Saturday, February 27 - Stanley Mazaroff Join the The Print, Drawing & Photograph Society today to Saturday, March 5 - Nicole Simpson participate in the exciting events listed to the left. Baltimore Join Lucas Biographer Stanley Mazaroff and Lucas Cataloguer Museum of Art members can join PDPS quickly by calling the Nicole Simpson for talks focusing on the life and print collection Membership Hotline at 443-573-1800. of George A. Lucas. Or you can join online at: MUSEUM TOUR http://www.artbma.org/members/index.html Wednesday, April 6 Annual PDPS membership levels: Rena Hoisington and Jay Fisher will give a tour of New Arrivals: *$60 Single *$85 Dual Gifts of Art for a New Century. *$125 Support *$200 Patron COLLECTOR’S VISIT Additional contributions can be made for PDPS acquisitions Sunday, April 17 or for PDPS student scholarships. PDPS is invited to view the collection of Doreen Bolger. PDPS membership and contributions are 100% tax deductible.

ANNUAL MEETING Sunday, June 5 Rena Hoisington will give a lecture on the Garrett Collection, followed by a reception in Gertrude’s restaurant.

Invitations with detailed information will be sent in advance of each program.