Wendell H. Black 17. Picasso at Mougins: The Etchings, 2002 Erik Desmazières 29. With Aldo Behind Me, 2008 62. Copyists at the Metropolitan Museum, 1908 Checklist (American, 1919–1972) Soft‑ground etching, aquatint, sugar‑lift (French, born 1948) Aquatint, etching, drypoint, and mechanical Etching; unnumbered edition of 100 1 Dimensions are in inches; 6. Artist and Model—Spring II, 1958 aquatint, with à la poupée inking and relief 25. Atelier René Tazé IV, 1992 abrasion; edition 12/15 plate: 7 /2 x 9 In the Studio 1 1 1 Woodcut; edition 11/25 rolls through stencils; edition 91/200 Etching, aquatint and roulette; plate: 46 /2 x 38 /2 sheet: 11 x 13 /8 1 5 7 5 3 height precedes width. image: 23 /8 x 38 plate: 17 /8 x 23 /8 edition 16/75 sheet: 54 /8 x 46 /8 Courtesy of Davidson Galleries, Seattle, and 5 7 7 sheet: 28 x 41 sheet: 23 /8 x 30 plate: 25 /8 x 19 /8 Courtesy of Augen Gallery Kraushaar Galleries, New York Reflections on Artistic Life 1 Museum Purchase The Carol and Seymour Haber Collection sheet: 30 x 22 /4 Edward Ardizzone 30. Snips, Pliers, and Hammers, 2011 Raphael Soyer (British, 1900–1979) 92.217.44 2004.33.5 Museum Purchase: Hank and Judy Hummelt Fund Woodcut and etching; edition 12/15 (American, 1899–1987) 1. The Model, 1953 1 February 2 – May 19, 2013 Frank Boyden Charles‑François Daubigny 1995.18.1 plate: 48 x 38 /4 63. Young Model, 1940 5 1 Lithograph; edition 29/30 (American, born 1942) (French, 1817–1878) sheet: 50 /8 x 40 /8 Lithograph; unnumbered edition of 250 1 5 8 8 3 image: 8 / x 10 / 7. That pompous, arrogant, copycat Uncle 18. Le Bateau‑Atelier (The Studio Boat), 1861 26. Atelier René Tazé VI, 1993 Courtesy of Augen Gallery image: 12 x 10 /4 1 3 sheet: 11 /8 x 15 /4 Skulky sells out another exhibition, from the Etching Etching, aquatint, and roulette; sheet: 16 x 12 1 Kevin Fletcher The Vivian and Gordon Gilkey Graphic Arts series The Irreverences, Provocations, & image: 4 x 5 /4 edition 81/90 The Vivian and Gordon Gilkey Graphic Arts 7 3 1 (American, born 1956) Collection Connivances of Uncle Skulky, 2003 sheet: 8 /8 x 8 plate: 25 /4 x 39 /4 Collection 1 31. Studio Still Life—Aerial #1, 1986 81.81.514 Color drypoint and spitbite etching; artist’s The Vivian and Gordon Gilkey Graphic Arts sheet: 28 /4 x 43 91.84.5 proof aside from the edition of 15 Collection Friends of Vivian Gilkey Purchase Prize from Etching; edition size unknown John Baldessari 3 7 7 3 24 Honoré Daumier plate: 15 /4 x 19 /8 Joyce Treiman image: 4 /8 x 6 /4 82.80.61 the International Print Exhibition (American, born 1931) 1 1 1 sheet: 21 /2 x 26 (American, 1922–1991) sheet: 13 /2 x 11 /4 1997.136 2. Studio, 1988 Honoré Daumier The Vivian and Gordon Gilkey Graphic Arts 64. Untitled (Model Dressing), 1962 Photo offset lithograph with color screen- Gift of the artist in honor of Jean Vollum 11. The History of : S. W. Hayter 2004.3.13 Discovers Viscosity Printing, 1976 (French, 1808–1879) Richard Diebenkorn Collection Drypoint; edition 1/2 7 7 print; edition 73/150 19. Mission pénible et délicate du professeur (American, 1922–1993) 1997.228.181 plate: 5 /8 x 3 /8 1 3 Soft‑ground etching and aquatint, with 2 4 7 image: 25 / x 33 / 8. Uncle Skulky is overcome as he leers at an de dessin… (The Life of a Drawing Master 27. Nude, 1961 sheet: 20 /8 x 15 1 3 vibrograver, and relief rolls through stencils; 7 Frank Boyden sheet: 30 /4 x 38 /8 Knut Froysaa exquisite exhibition of an old friend, from edition 57/75 Is Truly a Hard One…), plate 31 from Etching; edition 3/9 Gift of Donald M. Treiman Collection of Jordan D. Schnitzer 1 (Norwegian, 1919–1987) the series The Irreverences, Provocations, & 7 5 Professeurs et moutards (Teachers and plate: 12 x 8 /2 88.10.23 plate: 21 /8 x 27 /8 1 32. The Studio, 1956 41. Picasso, 1997 Connivances of Uncle Skulky, 2003 7 5 Students), 1846 sheet: 19 x 12 /4 Alberto Giacometti Leonard Baskin sheet: 24 /8 x 35 /8 Color drypoint and spitbite with graphite, Lithograph The Clement Greenberg Collection; Museum Woodcut; edition 18/50 (Swiss, 1901–1966) Three‑dimensional lithograph; 65. Thomas Eakins Modeling with Me in (American, 1922–2000) Museum Purchase: Caroline Ladd Pratt Fund 3 1 1 Image: 14 /4 x 18 edition 52/75 California, 1975 pencil, and watercolor; artist’s proof aside image: 7 /8 x 9 /2 Purchase: Funds Provided by Tom and 34. Man Walking in Studio, 1951 3. Andrea Mantegna, Italian 1431–1506, from 80.47.1h 7 3 1 1 1 7 1 Sheet: 17 /8 x 21 /4 22 /2 x 23 /2 x 13 /2 Etching; artist’s proof from the edition of 14 sheet: 9 /8 x 14 /4 Gretchen Holce Lithograph; edition size unknown the series Etchings of Ten Favorite Artists, 1 1 3 1 The Vivian and Gordon Gilkey Graphic Arts image: 14 x 20 /2 Collection of Jordan D. Schnitzer plate and sheet: 30 x 22 /4 1962 image: 4 /4 x 6 /4 12. The History of Printmaking: Lunch with Private collection 2001.1.29 5 1 Collection 3 Gift of Louis Leithold in memory of the sheet: 13 /8 x 11 /8 Lautrec, 1977 sheet: 15 x 21 /4 Etching; edition 39/50 20. Comment trouvez‑vous ce Saint là... (What 81.81.73 parents of Joyce Treiman 3 3 Gift of the artist in honor of Jean Vollum Soft‑ground etching and aquatint, with vibro- The Vivian and Gordon Gilkey Graphic Arts plate: 17 /4 x 14 /4 Do You Think of That Saint There…), plate (American, born 1935) (German, 1893–1959) 80.5.29 1 5 2004.3.12 graver, lithographic crayon, and relief rolls Collection sheet: 29 /2 x 20 /8 Emil Ganso 42. Selbstporträt (für Charlie Chaplin) 80 from Les bons bourgeois (The Good 28. Chisel, 1965 81.81.371 Museum Purchase: Caroline Ladd Pratt Fund through stencils; edition 54/75 (American, 1895–1941) (Self‑Portrait [for Charlie Chaplin]), 1919 Andy Warhol 5 Bourgeois), 1847 Lithograph; edition 50/200 plate: 22 x 27 /8 63.28.2 1 33. Studio Mirror, 1936 Etching; edition of 60 (American, 1928–1987) (American, born 1921) 7 5 Lithograph image and sheet: 40 x 30 /8 David Gilhooly sheet: 24 /8 x 35 /8 1 50 Roy Lichtenstein 1 1 Chiaroscuro wood engraving; edition size plate: 19 /2 x 13 66. Watercolor Paint Kit with Brushes, ca. 1982 9. The History of Printmaking: Ben Franklin at image: 10 /8 x 8 /4 Gift of Mr. Ronald Shindler and Mr. Lowell (American, born 1943) 4. Francisco de Goya, Spanish 1746–1828, Museum Purchase: Caroline Ladd Pratt Fund 1 7 1 1 unknown sheet: 22 /2 x 16 /8 Screenprint; unpublished edition Versailles, 1976 sheet: 13 /4 x 9 /4 Shindler 35. How to Make Jackson Pollock’s Dogs, 1988 47. Celine, 1978 53. Two Nudes with Oak Stool and Canvas, 1976 58. Peintre et modèle sur un lit (Painter and from the series Etchings of Ten Favorite 80.47.1f 1 1 3 Soft‑ground etching and aquatint, with vibro- Gift of Mr. Richard Prasch 82.7.7 image: 14 /2 x 9 /2 Lithograph, AP V/VIII Collection of Hannah Mangold Lithograph; edition hors commerce 2/4 Lithograph; edition 66/100 Model on a Bed) from Suite 347, 1968 image: 13 /4 x 19 1 1 1 Artists, 1962 sheet: 17 /2 x 12 /8 3 1 7 sheet: 20 x 40 /8 image: 24 x 18 image: 28 /4 x 19 /4 image and sheet: 29 x 36 /8 Drypoint; edition 25/50 Etching; edition 39/50 graver, and relief rolls; edition 37/50 13. The History of Printmaking: The Last 71.11.3 Jennifer Guske 7 5 Bequest of Charles Henry Leavitt 5 1 1 7 Collection of Jordan D. Schnitzer 5 3 plate: 21 /8 x 27 /8 Printmaker, 1978 sheet: 30 x 22 sheet: 38 /8 x 27 /4 Museum Purchase: Caroline Ladd Pratt Fund image: 3 /2 x 4 /8 plate: 14 /8 x 17 /4 (American, born 1950) 7 21. Un faux vase du Japon… (A Fake Vase from 59.26.32 7 7 5 1 sheet: 24 /8 x 33 Soft‑ground etching and aquatint, with à la Collection of Jordan D. Schnitzer Collection of Jordan D. Schnitzer 80.17 sheet: 9 /8 x 12 /8 sheet: 20 /8 x 29 /4 43. The Studio, 1991 Museum Purchase: Caroline Ladd Pratt Fund poupée inking, and relief rolls through Japan…), plate 8 from La Potichomanie Gift of Mrs. Ruth Tunturi Museum Purchase: Caroline Ladd Pratt Fund (Pot‑Mania), 1855 Arshile Gorky Linocut; edition 1/75 Franz Kline 54. Nude in Director’s Chair, 1978 80.47.1c stencils; edition 19/25 3 94.112.1 63.28.7 image: 17 /4 x 13 5 Lithograph (American, 1904–1948) (American, 1910–1962) Lithograph; artist’s proof 7/11 plate: 22 x 27 /8 1 1 sheet: 24 /4 x 20 5 1 10. The History of Printmaking: Senefelder 7 1 image: 7 /2 x 9 36. Painter and Model (The Creation Chamber), 48. Season’s Greetings, 1940/1950 image and sheet: 19 /8 x 17 /8 Joseph M. Raphael William H. Berkeley sheet: 24 /8 x 35 /2 5 1 Gift of the Friends of the Gilkey Center Gilkey Center programs are supported Receives the Secrets of , 1976 sheet: 9 /8 x 13 /4 1931 Etching The Vivian and Gordon Gilkey Graphic Arts (American, 1869–1950) (American, active mid-20th century) Museum Purchase: Caroline Ladd Pratt Fund 1 7 in part by the Vivian and Gordon Gilkey Soft‑ground etching and aquatint, with vibro- Private collection Lithograph; edition 26/36 2006.51.4 plate: 5 /4 x 4 /8 Collection 59. The Auction Rooms Feviez Bruxelles, 5. Engraver Engraving (Self-Portrait), 1950 80.47.1k 1 7 1 3 Endowment Fund. image: 11 /4 x 9 /8 sheet: 6 /4 x 5 /8 86.13.691 ca. 1920 Engraving; artist’s proof graver; edition 20/75 Hansen‑Bahia (Karl-Heinz Hansen) 7 5 22. La Visite à l’atelier… (Visit to the Studio...), 1 7 7 plate: 24 /8 x 27 /8 14. The History of Printmaking: Rauschenberg at sheet: 19 /2 x 16 Collection of Hannah Mangold Etching; edition 5/100 plate: 9 /8 x 7 /8 (German, 1915–1976) This exhibition is organized by the Portland Art 3 plate 37 from Croquis parisiens (Parisian 1 1 1 sheet: 25 x 35 /4 Tamarind in Hollywood, 1978 Collection of Hannah Mangold plate: 15 /2 x 23 /2 8 Untitled, 1971 Museum and curated by Mary Weaver Chapin, sheet: 13 / x 10 Sketches), 1857 44. 49. [Untitled], n.d. (Spanish, 1881–1973) 1 1 Museum Purchase: Caroline Ladd Pratt Fund Soft‑ground etching and aquatint, with sheet: 22 /2 x 29 /2 The Vivian and Gordon Gilkey Graphic Arts Lithograph Woodcut, 3rd artist’s proof Ink on paper 55. L’Atelier (The Studio), 1927 PhD, Curator of Graphic Arts; it is supported in 80.47.1e vibrograver, and relief rolls through stencils; 3 3 Gift of Robert Lustberg in honor of Estelle 1 image: 27 /4 x 10 /8 part by the Vivian and Gordon Gilkey Endowment Collection image: 8 x 10 /2 (American, born 1937) 4 x 4 Etching; edition 130/150 edition 4/75 1 1 Lustberg 80.122.244 sheet: 34 /2 x 20 /2 3 5 for Graphic Arts and the Exhibition Series 3 sheet: 10 x 14 37. Noa‑Noa, 1991 Collection of Hannah Mangold image: 13 /4 x 15 /8 plate: 22 x 27 /4 2012.77.1 Gift of Ruth and Jacob Kainen 5 3 Sponsors. 7 3 Gift of Max W. Buhmann Woodcut; edition 31/40 sheet: 18 /8 x 23 /4 sheet: 24 /8 x 35 /4 1 Roy Lichtenstein image: 18 /4 x 28 87.76.35 Bequest of Winslow B. Ayer Lilly Hansmann Rosa Museum Purchase: Caroline Ladd Pratt Fund 65.8 sheet: 20 x 30 (American, 1923–1997) 43.10.11 (American, born 1955) 80.47.1j René Georges Hermann‑Paul 23. Devant le tableau de M. Gustave Moreau… Collection of Jordan D. Schnitzer 50. Brushstrokes, 1967 60. Homage to Leonardo or The Maestro Cover: (French, 1874–1940) Screenprint; edition 222/300 56. Peintre travaillant, observé par un modèl 15. Judgement Day at NEA, 1991 (In Front of the by Mr. Gustave Leonardo, 1986 25 Erik Desmazières Moreau…), plate 9 from Croquis pris à 38. Van Gogh with Sunflowers, 1991 45. L’Artiste (The Artist), 1895 image: 22 x 30 nu (Painter Working, Observed by a Soft‑ground etching, aquatint, and marbling, Lithograph, proof before letters; edition size Etching and aquatint; edition 31/50 l’exposition par Daumier (Exhibition Sketches, Lithograph; edition 6/75 sheet: 23 x 31 Nude Model), plate VII from the suite Le 3 3 with à la poupée inking, and relief rolls 1 plate: 9 /4 x 7 /4 by Daumier), 1864 image: 16 /8 x 22 unknown Collection of Jordan D. Schnitzer Chef‑d’oeuvre inconnu (The Unknown through stencils; edition 13/20 1 1 1 1 sheet: 15 x 13 4 2 image: 20 /2 x 16 /2 3 1 Lithograph sheet: 18 / x 24 / Masterpiece), 1927 plate: 27 /4 x 43 /2 1 7 The Vivian and Gordon Gilkey Graphic Arts 1 1 sheet: 24 /8 x 16 /8 1 5 image: 9 /2 x 8 /4 Collection of Jordan D. Schnitzer Etching; artist’s proof aside from the edi- sheet: 31 /4 x 47 /8 Collection 3 3 Collection of Hannah Mangold (American, born 1929) sheet: 11 /8 x 10 /4 tion of 340 91.84.619 Gift of the artist 39. South Seas Sonata, 1992 51. Scissors to Cut Out, 1967 5 Gift of Lisa Andrus image: 7 /8 x 11 2001.57.13 Three‑dimensional lithograph; Jasper Johns Lithograph; edition 23/144 7 7 sheet: 9 /8 x 12 /8 91.87.1 1 John Sloan edition 18/60 (American, born 1930) image: 28 x 18 /2 16. My German Trip: At Nürnberg I Interview the 3 3 3 The Vivian and Gordon Gilkey Graphic Arts (American, 1871–1951) 20 /8 x 21 /4 x 11 /8 46. Target, 1971 sheet: 30 x 20 Master and Lunch with His Jolly Apprentices, 24. Devant le tableau de M. Manet… (In Front of Collection 61. Connoisseurs of Prints, 1905 the Painting by Mr. Manet…), plate 9 from Collection of the Jordan Schnitzer Family Offset lithograph with collaged elements of Collection of Jordan D. Schnitzer 1992 red, yellow, and blue watercolor pads and 80.122.121 Etching; unnumbered edition of 100 Croquis pris au Salon par Daumier (Salon Foundation 1 3 Soft‑ground etching and aquatint, with relief red paintbrush; edition of 22,500 Philip Pearlstein image: 4 /2 x 6 /4 Sketches, by Daumier), 1865 57. Peintre et modèle aux cheveux longs (Painter 1 rolls through stencils; edition 5/20 40. Jackson in Action, 1997 Published in conjunction with the exhibition (American, born 1924) sheet: 9 /8 x 12 3 3 Lithograph and Model with Long Hair), from the illustrated plate: 10 /4 x 13 /4 Three‑dimensional lithograph; Gift of Heirs of Charles Francis Adams 1 catalogue Technics and Creativity: Gemini G.E.L. 52. Female Model Seated on Lozenge‑Patterned 1 1 image: 9 x 7 /4 book Sable mouvant (Quick Sand), 1964 sheet: 14 /4 x 21 /8 edition 48/75 Collection: Peter F. Adams, Mrs. Sandra 1 1 (New York: Museum of , 1971) Drape, 1976 sheet: 11 /4 x 10 /4 1 Aquatint; edition X/XX aside from the edi- The Vivian and Gordon Gilkey Graphic Arts 27 x 35 x 7 /4 1 Ink on paper Adams Beebe, and Charles Anthony Adams sheet: 12 /2 x 10 tion of 255 Gift of Lisa Andrus 1 3 89.20.73 Collection Collection of Jordan D. Schnitzer 22 /2 x 29 /4 1 7 91.87.2 Collection of the Jordan Schnitzer Family image: 15 /8 x 10 /8 92.190.3 Museum Purchase: Funds provided by an 3 Foundation sheet: 20 /4 x 16 Anonymous Donor Gift of Ruth and Jacob Kainen 63 Raphael Soyer 80.15 2 John Baldessari 87.76.19 reimagining The History of Printmaking: Senefelder Receives Mentors, Competitors, and the Art World at Large Oregon artist Frank Boyden mocks the vanities and As In the Studio aims to reveal, when artists turn inward the Secrets of Lithography, the action centers not on a press, Reflections on artistic life sometimes take the form of ambitions of the art world in a suite of twenty-one prints to their studio and outward to the world of galleries and but on the elements that compose the alchemy of lithography: homage, an act that can evoke both tribute and creative revolving around the artist’s alter ego, Uncle Skulky—a museums for subject matter, they open up to viewers the strange creatures approach Alois Senefelder, the inventor of competition. Leonard Baskin paid tribute to art historical idols provocative, villainous skeleton. In one plate, descriptively pleasures, struggles, elation, and dark humor at the heart of the medium, offering up Bavarian limestone, tushe, and rosin, such as Andrea Mantegna and Francisco de Goya in his series titled That pompous, arrogant, copycat Uncle Skulky sells out the artistic process. while whispering the secrets of planographic printing. Etchings of Ten Favorite Artists. Red Grooms and Warrington another exhibition, we find the protagonist in a gallery, each —Mary Weaver Chapin, PhD work on display marked with a small red sticker indicating it Moving outward from tools and materials, artists also are Colescott, by contrast, express gleeful irreverence toward Curator of Graphic Arts drawn to rendering the physical studio space, whether mag- artistic giants of the past in boisterous prints that intertwine fact has been sold—a vision dreamed of, yet seldom obtained, isterial or modest. Charles-François Daubingy’s etching of and fiction. Albrecht Dürer, Vincent van Gogh, Paul Gauguin, by artists everywhere. 1 Robert Storr, Philip Pearlstein (New York: Harry N. Abrams), 9. 1861 shows the artist at work inside the humble bateau-atelier and Henri de Toulouse-Lautrec are just a few of the artists they 2 Grooms, quoted in Walter G. Knestrick, Red Grooms: The Graphic Work (New York: Harry N. Abrams, 2001), 199. 3 –Eh! bien en regardant ce tableau de près… (Well, if you look at this painting very closely…), plate 8 from Croquis pris au he constructed to explore the remote bays and islands of the honor and parody in their interpretations. Pablo Picasso looms Salon par Daumier (Salon Sketches, by Daumier), 1865 (Delteil 3445). Oise and Seine Rivers. His rapidly executed print captures a large in the imaginations of Colescott and Grooms, both of quiet moment in the cozy floating studio as the artist sketches whom made images of the artist when he lived in Mougins, the landscape seen through the boat’s window. More than France, near the end of his life. Over the course of just seven

a century later, John Baldessari presents a very different 53 Philip Pearlstein months in 1968, the eighty-seven-year-old Picasso created the 16 Warrington Colescott In the Studio image of the studio. He begins with a found image from a astonishing 347 Suite of etchings on the erotic nature of the Artist and Model Reflections on Artistic Life black-and-white Hollywood movie that shows an artist at artist-model relationship. Grooms depicts Picasso in a three- Crommelynck, the legendary master printer, who printed work in a vast studio, bathed in the light streaming from the Life drawing has long been a fundamental pillar of traditional dimensional lithograph, emphasizing his muscular body and his 2 much of the graphic work of Pablo Picasso, Henri Matisse, windows above and beside him and watched by five onlook- artistic training. The complex relationship between artist and “virility and Mediterranean tan.” Colescott’s Picasso is similarly and Georges Braque. Other artists have looked to paint itself, ers. Baldessari then places bright dots of primary or secondary model is often depicted as a web of interlocking glances, active, working over a copper plate surrounded by printers, as in Roy Lichtenstein’s Pop depiction of brushstrokes, or colors over the faces of each actor in the photograph to between viewer and object, creator and subject. There is a models, family members, critics, and hangers-on. As with the Andy Warhol’s screenprint of watercolor paints laid out as if confound the viewer’s recognition. The resulting print is both long history of the female nude model as passive participant Grooms image, a heady atmosphere of sexuality pervades The artist’s studio is an intimate field of private battles, a tacitly inviting the artist to begin anew. Jasper Johns makes vexing and strangely beautiful, transforming one form of art before the dominant male artist’s gaze. Yet in other cases, the Colescott’s scene, suggesting both the fecundity of Picasso’s terrain fraught with challenges very different from those that that invitation explicit in Target, a multiple of 22,500 copies (film noir) into a new medium (photo lithography and screen- model displays, even asserts, her own agency. In Studio Mirror, artistic production and the man’s notorious sexual appetites. lie beyond the studio doors. It is the site of great triumphs Emil Ganso examines not the relationship between artist that was issued with the 1971 exhibi- printing), while challenging the viewer to make new meaning Parody of the artistic world beyond the studio walls and deep frustrations—the place where artists create, strug- and model, but the model’s contemplation of herself in two tion catalogue Technics and Creativity: Gemini G.E.L. and out of the constituent elements. likewise has a long tradition. In thousands of lithographs gle, succeed, and fail. Artists have long turned to the atelier mirrors. Arshile Gorky, in Painter and Model (The Creation that prompts the owner to complete Johns’s target using the published from the 1830s to the 1870s, Honoré Daumier as a subject, whether focusing on the space itself, from the Chamber), suggests that the union of artist and model is so supplied brush and watercolor pads. targeted the vexations of life in Paris, tackling political, way the afternoon light strikes the easel to the gleaming gears strong that it is difficult to tell just where one begins and the domestic, and artistic realms. Artists, students, connois- of a printing press, or on the various tropes of art making— Printmakers display intense feelings for their tools, and other ends; rather, the two bodies have become fused into a seurs, and museumgoers: none were safe from Daumier’s the tools, materials, and props — as well as the artist-model for their presses in particular. With a precision bordering on single shape, locked in a collaborative endeavor. relationship. In the Studio explores this realm through the eyes the uncanny, Erik Desmazières details the massive presses rapier wit. He skewered the befuddlement of visitors before There is perhaps no contemporary artist who has so of printmakers and draftsmen from the nineteenth century to found in the Parisian studio of his printer René Tazé, while canvases by modern artists such as Gustave Moreau and thoroughly investigated the studio nude as Philip Pearlstein. the present whose reflections on their vocation and the rich at the same time infusing the composition with a rich atmo- Édouard Manet; the self-congratulatory mood of an artist Bucking the dominant artistic trends of his time—first history of making art range from deeply personal revelations sphere and sense of mystery. The flowing curve of the wheel who, unbeknownst to him, will soon be rejected by the jury Abstract Expressionism and then —he returned to to biting satirical commentary. of the press, pushed to the foreground in Atelier René Tazé of the annual state-sponsored Salon; the long-suffering IV, forms a porthole through which we view the structured the age-old practice of nude studies using a rigorous real- drawing instructor bending over his hapless student; and the geometry and right angles of the studio. In Atelier René Tazé ism. Eschewing narrative and all literary or psychological misplaced pride of connoisseurs examining a fake Japanese Tools, Materials, and the Atelier VI, the wheel again stands out as the dominant curve in a allusions, for the last five decades Pearlstein has constructed vase. Similarly, in the early twentieth century, John Sloan sophisticated and complex prints, drawings, and paint- Over the course of his career, Jim Dine has represented the room otherwise governed by a prevailing rectangularity, and took aim at the American art world and viewing public, ings out of what art historian Robert Storr has called “the tools that make up his daily life in the studio—brushes, chisels, the carefulness of its presentation suggests a hushed rever- finding humor, for example, in the unctuous gawking of the emphatically ‘raw’ materials of basic furniture and ordinary pliers, rollers, and the like. These tools have become surro- ence for this powerful machine. This sense of the mystical is experts he depicts in Connoisseurs of Prints, an etching likely people with their clothes off.”1 Pearlstein allows the viewer 3 gates for the artist, and bear very personal meanings. In Snips, evoked as well in the work of Hansen-Bahia (the nom d’artiste inspired by a Daumier lithograph of 1865. In Copyists at the a close glimpse into the life of the studio—replete with the Pliers, and Hammers, Dine’s affection for his tools is quite of Karl-Heinz Hansen), in which the figure of a woman Metropolitan Museum, Sloan parodies the onlookers who slouching models, simple props, and stacked canvases—as literal: he inscribes them within a heart. In With Aldo Behind appears to merge with a printing press, combining model, crowd around an amateur painter like the flock of sheep well as into the very process of drawing and seeing through muse, and machine in one. In Warrington Colescott’s playful 18 Charles‑François Daubigny she is copying; adding to the humor is the fact that Sloan Me, he lovingly depicts the tools used by his friend Aldo 30 Jim Dine the artist’s eyes. portrays himself and his wife, Dolly, in the foreground. 40 Red Grooms