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The Global Journal of Prints and Ideas January – February 2015 Volume 4, Number 5

Arcadia • Richard Tuttle: Scherenschnitt • Giulio Campagnola • Claude Lorraine • Arcadia in Germany Jan van de Velde II • London Transport Posters • KP Brehmer • Hokusai • Marcel Pautot • Prix de Print • News international fine ifpda print dealers association 2015 Calendar

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Art in Print 2015.indd 3 12/9/14 6:13 PM international fine ifpda print dealers association

2015 Calendar January – February 2015 In This Issue Volume 4, Number 5

San Francisco Fine Print Fair Editor-in-Chief Susan Tallman 2 Susan Tallman On Arcadia January 24–25 Associate Publisher Art in Art in Print Number 1 3 Details at sanfrancisco-fineprintfair.com Julie Bernatz Richard Tuttle / Defining the Book: Scherenschnitt (2015) Managing Editor Dana Johnson Dagmar Korbacher 6 IFPDA Foundation Poetic Printmaking: Arcadia and Deadline for Grant Applications March 30 News Editor the Engravings of Giulio Campagnola Isabella Kendrick Guidelines at ifpda.org Christian Rümelin 12 Manuscript Editor Claude Lorrain and the Notion of Prudence Crowther Printed Arcadian Landscapes Robert Fucci 17 IFPDA Book Award Online Columnist Arcadia Unbound: Early Dutch Sarah Kirk Hanley Submissions due June 30 Landscape Prints and the Amenissimae Design Director aliquot regiunculae of 1616 by Guidelines at ifpda.org Skip Langer Jan van de Velde II

Editorial Associate F. Carlo Schmid 23 Michael Ferut “Our joy be Arcadian, and free!” IFPDA Print Fair Arcadia in German Prints Around 1800 Editor-at-Large October 28 – November 1 Elaine Mehalakes 28 Catherine Bindman Underground to Arcadia: Park Avenue Armory, New York City London Transport Posters 1908–1914 More at PrintFair.com William Cole 32 Marcel Pautot and his Images de Provence Ink Miami Art Fair Reviews December 2–6 Laurie Hurwitz 37 Master of the Floating World inkartfair.com Paul Coldwell 40 KP Brehmer’s Realpolitik Brian D. Cohen 42 IFPDA Foundation Curatorial Internships Gillian Pederson-Krag On the Cover: Sidney Thomas Charles Weeks, Ulrich Pfisterer 44 Applications for 2016 funding due September 15 detail of Kew, by tram from Shepherd’s Bush; Arcadia: Paradise on Paper daisy walk (1913), poster, 101.6 x 63.5 cm. Guidelines at ifpda.org Printed by Avenue Press Ltd, London. Published Prix de Print, No. 9 46 by Underground Electric Railways Company Ltd, Diana Ewer London. ©TfL from the London Transport Museum Island by Victoria Burge collection. For IFPDA News & Events News of the Print World 48 This Page: Johann Heinrich Lips, detail of The Contributors 62 Follow us on Twitter @ifpda Evening from the series The Times of the Day Guide to Back Issues 63 Visit What’s On at ifpda.org (1805), etching and aquatint, printed in sepia, Charles Booth-Clibborn collection, London Subscribe to our monthly events e-blast at ifpda.org (Contemporary Editions Ltd, London).

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Art in Print 2015.indd 3 12/9/14 6:13 PM Art in Art in Print is a new irregu- On Arcadia lar, ongoing series of projects in which artists create art within the journal— By Susan Tallman not a piece of art that exists somewhere else and is reproduced in the journal, but a project designed specifically for the material, technological and social Shepherds, scatter the ground with leaves, focus of political and social aspirations. context of Art in Print. cover Twentieth-century positivism trans- We are pleased to present Richard the streams with shade (such Daphnis formed the poetic idyll of Arcadia into a Tuttle’s Defining the Book: Scheren- commands), viable destination, at least on weekends: schnitt as the first of these projects. and raise a tomb, and on it set this verse: Elaine Mehalakes surveys the deploy- As a venue for critical discussion of “I was Daphnis in the woods, known from ment of Arcadia in posters designed for art and images, Art in Print necessarily here to the stars, the London Underground, while William and routinely “reproduces” works of lovely the flock I guarded, lovelier was I.”1 Cole’s account of Marcel Pautot’s tiny art at the wrong scale, with the wrong gypsographs shows the idyllic instinct materials and in the wrong context. aphnis, the mythical poet-shepherd still thriving in mid-century Provence. In Art history—and most other learn- D mourned in Virgil’s fifth Eclogue, is his book review of Gillian Pedersen-Krag, ing—would be curtailed to the level of the embodiment of a particular European Brian Cohen examines a contemporary the Dark Ages without such reproduc- dream: rustic pleasures divorced from artist who invokes the stasis and melan- tions. But as a venue for critical dis- the machinations of power and the pur- choly that are as fundamental to Arcadia cussion of—specifically—printed art, suit of gain—a world of sheep, panpipes as happy flocks. Art in Print is particularly conscious of and poetry. But like the visual artists As Korbacher points out in her essay, the losses, distortions and misappre- who would later follow him into Arcadia, Arcadia’s power lies in its role as an alter- hensions that accumulate in the gap Daphnis was not without ambition: with native to the demands and distractions between the actual art object and its his lyrical evocations of the simple life he of urban life. In our reviews section, reproduction, whether that “original” competed with men and gods. That ker- Laurie Hurwitz surveys the mammoth in question is the Apollo Belvedere or nel of conflict—the desire to live in the Hokusai exhibition at the Grand Palais Marcantonio’s engraving of the Apollo moment and to be remembered for all and the extraordinary career of an art- Belvedere. time—gives this depicted Arcadia its grit. ist intensely engaged in the vibrant world We felt we owed it to the readers of The perfect Arcadian artist celebrates the of his time. Paul Coldwell looks at the Art in Print to bring into its pages actual mundane through means so perfectly career of the under-recognized German works of art—ink-on-paper beings that calibrated they almost—but not quite— artist KP Brehmer, whose print projects carry all the content the artist intended. escape notice. One could argue the for decades skewered the socioeconomic Art designed expressly for this page. entirety of art rests in that “not quite.” shenanigans of the postwar world. There is no artist better fitted to This issue of Art in Print is designed The winner of this issue’s Prix de launch this endeavor than Richard as a topographic tour of Arcadia spread Print, selected by Diana Ewer, is Victoria Tuttle. For 50 years, Tuttle has been over five centuries. The idea was sparked Burge, whose Island knits together the nudging us to consider the tangled by the Berlin Kupferstichkabinett’s heavens and the South Seas—real places interdependencies that govern percep- 2014 exhibition “Arkadien: Paradies auf endlessly used as backdrops for the pro- tion and understanding. The recent Papier: Landschaft und Mythos in Ital- jection of dreams. retrospective of his prints at Bowdoin ien” organized by Dagmar Korbacher (and Finally, for this issue, Richard Tuttle College and its accompanying cata- reviewed in this issue by Ulrich Pfisterer). has created a new work, designed to take logue1 illuminate how he has brought Dr. Korbacher opens our issue with her form in the ordinary paper and commer- his curiosity and attentiveness to bear study of Giulio Campagnola’s rare, limpid cially printed page of Art in Print. The on the physical characteristics and engravings, among the first to build the songs of Daphnis, after all, were played habitual allusiveness of the print. Often softness of Arcadia from incised copper. on simple panpipes. Perhaps, Tuttle sug- this has meant surfaces of tremendous Christian Rümelin shows how, a century gests, “a good print is a trip to Arcadia and delicacy or grit whose presence lies later, Claude Lorrain adapted the by- back.” outside our common experience and then familiar view of Rome to serve the lures us into slow and careful look- bucolic temperament of Arcadia, trans- Susan Tallman is the Editor-in-Chief of ing. In Scherenschnitt Tuttle uses a forming the European understanding Art in Print. different strategy to capture eyes, mind of what landscapes could be and mean. and hand. Robert Fucci follows these ideals as they Notes: migrated north, where 17th-century art- 1. Virgil, “Eclogue 5” translated by A.S. Kline. ists such as Jan van de Velde II invested Spargite humum foliis, inducite fontibus umbras/ Notes: the flat fields of Holland with scenes of pastores (mandat fieri sibi talia Daphnis) / et 1. Christina von Rotenhan, ed. Richard Tuttle Italianate pastoral bliss. Two centuries tumulum facite, et tumulo superaddite carmen: / Prints, exh. cat. (Brunswick: Bowdoin Col- later, as F. Carlo Schmid shows in his Daphnis ego in silvis, hinc usque ad sidera notus, lege and Zurich: JRP, 2014); “Richard Tuttle: / formosi pectoris custos formosier ipse. http:// A Print Retrospective,” Bowdoin College article on German Romantics, the egali- www.poetryintranslation.com/PITBR/Latin/Virg- Museum of Art, Brunswick ME, 28 Jun–19 Oct tarian bonhomie of Arcadia became the ilEclogues.htm. 2014.

2 Art in Print January – February 2015

Art in Art in Print Number 1

Richard Tuttle Defining the Book: Scherenschnitt (2015)

I am interested in the “imaginary or 1810). It is a print that you, the owner of real?” as a source for art, because, like this journal, are asked to cut out—it is “love,” it skirts destructively close. For your job to transform the image into an some reason, that produces the best object, to decide, with the conviction art, like Virgil’s Eclogues and the ton demanded by scissors, which parts of the of visual art inspired thus. page matter. “Connoisseurship is about —Richard Tuttle making distinctions,” Tuttle observes. “We often fail when it comes to the sim- plest things we have become used to, like ichard Tuttle’s art wanders the edge the extraordinary.” R of the ordinary while eliciting the Several early collectors of John James reflective, unhurried consideration that Audubon’s double-elephant Birds of Amer- is the essence of connoisseurship. In one ica took scissors to it: John Gould, the eloquent etching project with Crown eminent ornithologist, snipped out body Point Press, Deep In the Snow (2005), he parts for comparative zoological study; restructured the portfolio form in a way the Marchioness of Hertford cut out that forces the viewer’s hand and eye: a whole birds to fill the Chinese wallpaper large etching mounted to the wall sup- branches in her drawing room. Scherren- ports a green wire container holding 12 schnitt, Tuttle says, should “walk the line small, loose prints. Each is a different size, Arcadia sets out. Astonishingly, that line Above: Richard Tuttle, Deep In The Snow (2005), series of 12 intaglio prints (drypoint, aquatint, shape, color and character—one, shaped suits printmaking. Destruction is also a like an eccentric French curve, spills out gravure, embossing, nail polish) in a copper mesh gift from god.” basket attached to a wooden support slat and like ivy from a window box—but to be If you happen to own Deep In the Snow, large wall-mounted intaglio print. Installation: seen fully, each must be removed from the artist suggests, you might put this 32 x 28 x 3.75 inches. Edition of 7. Printed and the basket. Thus handled and rearranged, cutout in the basket with the others, but published by Crown Point Press, San Francisco. the printed image becomes an object— it is expected that each person will make a thing with a back as well as a front, different decisions. For Tuttle, that “col- weight as well as dimension, texture as lection of difference is the definition of well as color. the book”—an unknown number of Unlike our ancestors, who merrily pages, scattered across the world, bound Opposite page: Richard Tuttle, trimmed their Dürers to size before by intention. Defining the Book: Scherenschnitt pasting them into albums, we have been (2015). Printed journal page, taught to keep a safe distance from the double-sided, sheet: 8 1/4 x 10 3/4 art we love. We fret about dirt, light ex- inches. Edition unlimited. Pub- posure, finger oils. We have got out of the lished by Art in Print. habit of touching. Scherrenschnitt is conceived as an You are invited to cut this work extension of Deep In the Snow. Made of out. The work should be two- commonplace materials that lack the sided. Taken from the PDF, both charisma of etching, it lays down an sides of the page should, of course, alternate path into the unhurried gaze of be printed so the image aligns. Arcadia. The title translates as “scissors- Thanks to Susan Tallman for her cut” and refers to a tradition of intricate appreciation of Deep In The Snow. papercutting that stretches from Swiss folk art to the remarkable botanical sil- —Richard Tuttle, NM, 2015 houettes of Phillip Otto Runge (1777- Poetic Printmaking: Arcadia and the Engravings of Giulio Campagnola By Dagmar Korbacher

rcadia, the poetic land of shepherds A living in pristine simplicity in harmony with nature, found its first true visual representation in Venetian art of the first two decades of the 16th century. It may seem surprising that these pastoral idylls should have enjoyed such last- ing literary and artistic success in a city so uniquely defined by water. Against the backdrop of the tense political situation of Venice at the time, however, Arcadia offered a better, peaceful counterworld— a lyrical “Sonderraum”1 within this hub of humanist culture and book production. Erudite circles developed not just in the intellectual milieu of Venice and the nearby University of Padua, but also in courts, such as that of Catarina Cornaro, the former queen of Cyprus, or Ferrara and Mantua, where bucolic poetry enjoyed great popularity.2 In this ambience, Jacopo Sannazaro’s vernacular pastoral romance Arcadia found an enthusiastic reception.3 At the end of the 15th century, the Neapolitan poet had rediscovered and revisited the Arcadia of Theocritus and, later, Virgil: “awaken- ing the sleeping woods and teaching the shepherds to sing songs long forgotten.”4 With almost 70 Italian editions in the 16th century alone, Sannazaro’s book was one of the most successful of the Italian Renaissance, inspiring both poets and artists to embark for Arcadia.5 The idyllic landscape images that Fig. 1. Giulio Campagnola, St. Jerome reading in a landscape with a group of buildings arose in response were not so much literal (ca.1503–1504), engraving, 13.6 x 12.3 cm. ©Trustees of the British Museum. illustrations of Sannazaro’s text as visual fictions analogous to the poetic fictions but also with contemporary humanist nola’s engravings are not “imitations or of the Arcadia. Paintings by Giorgione thought—literature, poetry, Latin, Greek derivations, but ‘inventions.’”10 It is worth and the young Titian, such as the Pastoral and Hebrew.9 Like his father, Girolamo, repeating David Alan Brown’s observation Concert at the Louvre, embody the same he frequented humanist circles in his that Campagnola possibly used engraving idyllic sensibility.6 native Padua and in his adopted home- to address humanist themes with multi- Giulio Campagnola used engraving town of Venice. His active participation ple layers of meaning and interpretation, to create a world similar to that of the in humanist discourse and his intense while in his paintings he favored concise Venetian painters, especially Giorgione, involvement with books, literature and mythological subjects.11 the “painting Sannazaro,”7 but his prints pictures suggest that for him Arcadia was In the 15 engravings12 accepted as are not simply reproductions of evoca- more than a convenient motif for imple- being from his hand, there is little sign of tive landscape paintings (or Stimmungs- menting the innovations of other artists the “nymphs, satyrs and mountain dwell- landschaften) in print.8 Broadly educated, or an aesthetic fashion that might find ers“ that Giovanni Aurelio Augurello Giulio was conversant not only with favor with an educated audience. Rather it praised as characteristic of Campag- visual art (especially miniature painting) was an idea—a conceptual foundation on nola’s paintings.13 Many of the prints, and music (he was a lutenist and singer), which to build something new. Campag- however, carry literary Arcadian themes

6 Art in Print January – February 2015 in a narrower or wider sense.14 Aimed at the humanist audience in which Cam- pagnola was immersed, these works are distinguished not by narrative dynam- ics, but by emblematic condensation and tranquility, reflecting the uneventfulness of Arcadian life. This all-encompassing peace can be found in Campagnola’s print depicting St. Jerome, who reads in a landscape against a backdrop of buildings and the Venetian lagoon in the distance (Fig. 1).15 Nature is presented as a pleasant retreat that nurtures spirituality, scholarly study and contemplation, as described in Petrarch’s De vita soli- taria.16 This harmonious natural world is made pastoral through the inclusion of a specific element: while the deli- cately drawn lion is a standard attribute of St. Jerome, the man leaning on his staff at the edge of a thicket has no rel- evance to the saint’s story or iconogra- phy. He is part of the landscape, an echo of shepherds leaning on their crooks as well as of the figures that feature in Giorgione’s compositions. The print of the reclining Saturn17 combines the motif of a figure in repose in a bucolic landscape with poetic melancholy, both fundamental Arcadian themes. Saturn represents the memory of the Golden Age, described by Virgil in his fourth Eclogue, “Saturnia regna,” as a melancholy glimmer, a longing for the lost, better past of Arcadia.18 Emblematic and enigmatic, these compact motifs set within pleasant landscapes against the backdrop of a town or village, and suffused with a mood of contemplation, were enlarged in Campagno- la’s explicitly pastoral19 prints, featuring shepherds who may or may not be accompanied by their flocks, but almost always by their flutes. The Young Shepherd20 sits in the shade of a tree and holds a double flute (Fig. 2); the traditional title ignores the presence of the old shepherd, lying at the boy’s feet with only his head visible at the edge of the image.21 The juxtapo- Fig. 2. Giulio Campagnola, The shepherd; seated by a tree, holding his pipes, with the head of a sition of young and old introduces the bearded man by his feet and a group of buildings behind (ca. 1509), engraving with stippling, theme of life and death—the fundamen- 7.9 x 13.5 cm. ©Trustees of the British Museum. tal issue of human existence—which figures in the songs of Arcadian shepherds, The main figure in theOld Shepherd,23 sound”25 played on a “humble pipe of and at the same time pictures the neces- who leans against a saddle beside his Coridone”26—the melody of Arcadia. sary counterpart of the singing shepherd, animals and plays his flute (Fig. 3), also The female counterparts of the shep- the listener. Numerous literary episodes reflects literary models such as Opico, herds are the nymphs, the nature god- invoke this theme as well, such as the or Tityrus, the “blessed old man” in Vir- desses of Arcadia. Campagnola’s reclining meeting of younger herders such as Ser- gil’s first Eclogue.24 The low genus of the nude,27 with her back to the viewer, rano and Ergasto with the old Opico in music he plays is suggested by his posi- should perhaps be read as a nymph, Sannazaro.22 tion and simple clothes: it is a “humble though she is usually identified as Venus,

Art in Print January – February 2015 7 native world while exploring the artistic possibilities of a relatively young medium. Campagnola drew inspiration from Albrecht Dürer,33 apparently fascinated by his virtuosic handling of line, his practice of modeling form through curved hatchmarks (both parallel lines and crosshatching), and his ability to harmonize a landscape with figures within a graphic realm. Konrad Oberhuber notes that “Giulio recognized from the start the pictorial possibilities inherent in Dürer’s early prints,” but adapted the master’s curved parallel strokes, grouping them more densely, “so as to form vibrating patches of shadow, contrasted with shim- mering highlights.”34 By exploiting the potential inherent in the juxtaposition of saturated black ink and the bright paper, Fig. 3. Giulio Campagnola, The old shepherd lying in a landscape, buildings behind, a goat and a sheep to the left (ca. 1510–1516), engraving, 8 x 13.5 cm. Collection of the Metropolitan Museum of Art. Campagnola was able to achieve a multifaceted representation—the distinct engraved line withdraws in favor of a the goddess of love, and is closely related conceived and designed by Giulio Cam- tonal evocation of space and landscape (a to Giorgione’s Dresden Venus (Fig. 4). The pagnola, then finished by Domenico.31 quality he may have adapted from mini- figure may be identified with the work Apparently the original rural figures were ature painting). It is the special charm of noted by Marcantonio Michiel in the 16th replaced by the courtly concert society we his engravings—a “dreamlike and poetic century—“a nude drawn from Giorgione, now see, enhancing the contrast between rendering of reality.”35 reclining and turned”28—and also with urban and pastoral worlds. The composi- Of particular significance in this a passage in Sannazaro’s Arcadia: shep- tion is arranged not so much as experien- regard is John the Baptist,36 Campag- herds approach the Temple of Pales and tial and constructed space, but rather as nola’s largest engraving, which displays admire its frescoes, among them a Venus a Stimmungslandschaft whose atmosphere two expressive modes (Fig. 6). The figure, whose beauty so defied reproduction, the is conveyed through delicate and diverse wrapped in folds of fabric, cannot conceal artist had chosen to present her with her surface structures and line patterns.32 its debt to Andrea Mantegna in the clear, back turned.29 In this and other engravings, such chiseled contours engraved in strong The engraving Concert by the brook (ca. details show how poetic fictions became lines. In his presentation of the land- 1517)30 (Fig. 5) corresponds exceptionally pictorial fictions, creating new humanist- scape behind, on the other hand, Giulio well to The Pastoral Concert in the Louvre literary images of a harmonious alter- forgoes line in favor of stippled dots. This as a pictorial evocation of Arcadia. Traditionally attributed to Giulio Cam- pagnola and his adopted son Domenico, it shows a group of musicians with their instruments, lounging in a leafy grove. Oddly, while the presence of a sheep suggests a pastorale, the string instruments (rather than a pipe) and elegant clothes clearly show that, like the male figures in the Louvre painting, these are not shepherds but sophisticated city dwellers. The architectural elements always present in these pictures represent an intellectual counterpart to nature’s simplicity, and also a point of reference: it is as an alternative for city dwellers that Arcadia exerts its interest. A babbling brook and a mountain backdrop in the distance are complemented here by the human settlement on the hilly, overgrown landscape. A study for this print is preserved in the Louvre, and the changes made in the engraving, mainly to the figures in Fig. 4. Giulio Campagnola, Venus reclining in a landscape, a nude seen from behind (ca. 1508– shadow, suggest the work was initially 1509), engraving with stipple, 12.1 x 18.2 cm. ©Trustees of the British Museum.

8 Art in Print January – February 2015 Fig. 5. Giulio and Domenico Campagnola, Concert by a brook (ca. 1516–1517), engraving, 13.4 x 25.8 cm. Published by Georgio Pozzi Editore. ©Staatliche Museen zu Berlin, Kupferstichkabinett / Volker H. Schneider. is particularly remarkable in the loung- evoke a mood rather than to present a tion of stipple and line, the former further ing shepherds with their flocks (Fig. 7). clear narrative.”39 Just as some of Man- enhancing the differentiation between Implied rather than concretely rendered, tegna’s engravings sought to imitate the landscape and figure. This method is also they offer a pronounced contrast to the drawn stroke of a pen, these works cre- apparent in the so-called Astrologer,44 clearly delineated saint (though the inter- ate a pictorial two-dimensionality and which exists in Berlin in a unique impres- nal structure of his robe is also stippled). an overall atmospheric effect of paint- sion of the first state where no dots can be The shepherds and sheep (or is it a towns- ing. Campagnola’s stippling goes beyond seen; Campagnola added stippling later man and a nymph?) blur into the atmo- imitation to depict a harmony between for the fine modeling of the landscape, the spheric distance. Close analysis reveals nature and the human figure. In the nude dots made by tiny flicks of the burin, and that this evocative stippling was prepared discussed earlier (Fig. 4), only stippling is perhaps also a punch. The brightness of by tiny delicate lines that remain visible used, without any line; the delicate tran- the paper ground is of particular impor- beneath and adjacent to the dots in some sitions show an ideal union, as well as a tance in the representation of atmo- places; in other places, line dissolves specific, graphic, expressive power.40 spheric effects; here its contrast with the into a narrow string of dots reminiscent A small Campagnola painting at the dark printed areas created a “luminous of pricking techniques for transferring Brooklyn Museum of Art includes a quality of light and roundness” in these drawings (spolvero). similar female nude, also seen from the exquisitely printed impressions.45 A pricked preliminary drawing for this back but standing rather than reclining. This technique of dots and minute landscape exists at the Louvre, and per- Remarkably, she is also modeled from lines deployed to produce a full tonal haps the idea of rendering contours with tiny, individually distinct brush marks, range from deep black to bright white dots derived from the transfer process. In a technique Campagnola possibly trans- created a vibrant surface, rich in nuance, any event, Giulio seems to have invented ferred to the copper plate.41 He may have which matched the delicate mood of Gior- his stipple technique to transfer the paint- leaned toward making some prints more gione’s paintings and ultimately that of erly character of this delicate brush draw- painterly and others more linear and Sannazaro’s Arcadia. As can be seen in the ing37 onto the plate. The dots impart an graphic depending on whether a paint- shepherd group behind St. John and also overall softness to the landscape, remi- ing or drawing had provided the model.42 in the Nude, the human figure becomes niscent of Giorgione’s painting but with a We can assume the use of dots or lines an attribute of the (pastoral) landscape, new sensibility.38 Oberhuber and Arthur was deployed strategically on a case-by- physically rather than narratively united. M. Hind have observed how particu- case basis, rather than as part of the art- In contrast to literary Arcadia, but in larly suited the technique is to rendering ist’s stylistic trajectory (and thus should accordance with Giorgione, Giulio does the character of Giorgione, as it “tends not be used to deduce his chronological not picture idyllic or even sweet nature. towards poetic suggestiveness rather development).43 Young Shepherd and Old His landscapes are not places of pure, than the explicit statement and seeks to Shepherd, for example, feature a combina- golden happiness; they are balanced

Art in Print January – February 2015 9 Fig. 7. Giulio Campagnola, detail of St. John the Baptist standing against a landscape ©Staatliche Museen zu Berlin, Kupferstich- kabinett / Volker H. Schneider.

Dagmar Korbacher is curator of Italian, French and Spanish art before 1800 at the Kupferstich- kabinett of the State Museums in Berlin.

Notes: 1. Ulrich Töns, “Sannazaros Arcadia. Wirkung und Wandlung der vergilischen Ekloge,” in Antike und Abendland 23 (1977): 143–161, 153. 2. See Enrico Carrara, La poesia pastorale (Milan: 1909), 242–257 (on Ferrara) and 257–268 (on Mantua). 3. On the dissemination of bucolic poetry in North- ern Italy, see E. Kegel-Brinkgreve, The Echoing Woods. Bucolic and Pastoral from Theocritus to Wordsworth (Amsterdam: J. C. Gieben, 1990), 295. On the popularity of Sannazaro’s Arcadia in Venice, see Luba Freedman, The Classical Pastoral in the Visual Arts (Peter Lang: New York, 1989), 113. 4. “A risvegliar le addormentate selve e a mostrare a´ pastori di cantare le già dimenticate canzoni”: Jacopo Sannazaro, Arcadia, ed. Francesco Ers- pamer (Milan: Mursia, 1990), 241. 5. Several editions were printed in Venice at the beginning of the 16th century by Bernardino da Fig. 6. Giulio Campagnola, St. John the Baptist standing against a landscape (ca. 1505), engraving, Vercelli, among others. See William J. Kennedy, image 34.2 x 23.7 cm, sheet 35 x 24.4 cm. ©Staatliche Museen zu Berlin, Kupferstichkabinett / Volker Jacopo Sannazaro and the Uses of Pastoral H. Schneider. (Hanover, NH: University Press of New England: between light and shadow, young and Giorgione and Titian, “a new nature pro- 1983), 97-99; Alfredo Mauro, “Le prime edizioni dell´Arcadia di Sannazaro,” Giornale italiano di old, city and country, death and life. He duced by art.”48 The analogy between filologia 2 (1949): 341– 51. approaches his subjects with a scholarly Arcadia and Campagnola’s poetic engrav- 6. Paris, Musée du Louvre, Inv. 71. See Chris- seriousness, as Francesco Sorce writes: ings can be further developed. The use of tophe Brouard, “Le Concert champêtre du Lou- “far from presenting enchanting land- line and stipple as means of design can be vre—fortune et interprétation,” Di là dal fiume e scapes and serene worlds, [Campagnola’s compared to Sannazaro’s combination of tra gli alberi, ed. Laura De Fuccia and Christophe prints] seem to intervene competently in prose and poetry in the Arcadia. Line, like Brouard (Ravenna: Georgio Pozzi Editore, 2012), 99–122; Alessandro Ballarin et al., Le siècle de 46 philosophical debates.” prose, tends to be definitive, circumscrib- Titien. L´âge d’òr de la peinture à Venise, exh. cat. Poetry and painting share the creative ing, dynamic and narrative, while dots, in 43 (Paris: Grand Palais, 1993), 392–400. power of invention and meet in numer- their ability to create mood, atmosphere 7. Ernst H. Gombrich, “Die Kunsttheorie der ous examples of ekphrasis in Sannazaro’s and harmony, approximate poetry. The Renaissance und die Entstehung der Land- Arcadia, just as they are joined in Giulio painterly picturesque as well as the poetic schaftsmalerei,“ in Die Kunst der Renaissance I. Norm und Form (Stuttgart: Klett-Cotta, 1985), Campagnola’s engraved inventions.47 are essential features of the Arcadian 146. Campagnola thus creates a parallel to the image, and are exceptionally rendered in 8. On “Stimmungslandschaften,” see Herbert von poetics of Sannazaro and the painting of Campagnola’s prints.49 Einem, Giorgione—der Maler als Dichter (Mainz/

10 Art in Print January – February 2015 Wiesbaden: Akademie Der Wissenschaften und Quarterly, XXIX (1942), 2, 179–207, 192. Campagnola, 86. der Literatur/Franz Steiner, 1972), 5–29, 11. 24. “Fortunate senex.” The subject carries further 39. Peter Humfrey and Martin Kemp, Giorgione, On the prints, see Antonio Carradore, “Giulio echoes from the Eclogues (1.78 and 10.7): see in: Dictionary of Art, Vol. 12, 668–79, 669. Campagnola, un artista umanista,” Venezia De eeuw van Titiaan, 62. Also Carradore, Giulio 40. TIB 2518.008, 473–74. Cinquecento 20 (2010): 40, 55–134, 78. Campagnola, 102, 104. 41. Brooklyn Museum of Art, oil on paper mounted 9. Ibid. 25. “umile suono”: Sannazaro, Arcadia, Prologo on canvas, 19.1 x 16. 5 cm; see Keith Christian- 10. “Imitazioni o derivazioni, ma ‘invenzioni’, atte 6, 55. sen, “A Proposal for Giulio Campagnola Pittore,” a creare una propria figurazione.” Carradore, 26. “la umile fistula di Coridone”: Sannazaro, Hommage à Michel Laclotte. Etudes sur la pein- “Giulio Campagnola,” 78. Arcadia, Epilogo 5: A la sampogna, 239. ture du Moyen Age et de la Renaissance (Paris: 11. See David Alan Brown, “Giulio Campagnola. 27. See TIB 2518.008, 473–474; Sorce, Di ninfe, Réunion des musées nationaux, 1994), 344–55. The Printmaker as a Painter,” Artibus et historiae 89–97; De eeuw van Titiaan, cat. II.5, S. 72; Le 42. See Tietze/Tietze-Conrat, Giulio Campagno- 31 (2010): 61, 83–97, 93. siècle de Titien, cat. 126, 523 (Konrad Oberhu- la’s Engravings, 195. 12. See The Illustrated Bartsch (=TIB) / Early Ital- ber). On the motif of reclining female nudes, see 43. Konrad Oberhuber questions the linearity of ian masters, Vol. 7, ed. Mark J. Zucker (Abaris Millard Meiss, Sleep in Venice. Ancient Myths technical development (Konrad Oberhuber in Books: New York 1984), 463. Giulio’s work and Renaissance Proclivities, in: Proceedings of Early Italian Engravings, 390–401). On the dating appears to have enjoyed enormous success, as the American Philosophical Society, 1966, 110.5, of the works see Gudula Metze in: Frühe Kupfer- evidenced by the numerous surviving copies. 348–82. stiche aus Italien, 235. 13. “Nymphae, Satyri et monticolae Silvani.” See 28. “Una nuda tratta da Zorzi, Stesa e volta”: 44. See De eeuw van Titiaan, cat. II.3, 70. De eeuw van Titiaan, ed. Gert Jan van der Sman, Der Anonimo Morelliano. Marcantonio Michiel’s 45. See Oberhuber in Early Italian Engravings, exh. cat. (Zwolle: Waanders Uitgevers, 2002), 61, Notizia d’opere di disegno, ed. Theodor Frimmel, cat. 149, 406. and Carradore, “Giulio Campagnola,” 109. Wien 1888, S. 22; see also Konrad Oberhuber in 46. “le stampe realizzate da Campagnola che, 14. See for example Francesco Sorce, “Di Early Italian Engravings from the National Gallery lungi dal presentare paesaggi incantati e mondi ninfe, astrologi e pastori. Studi di iconologia of Art, ed. Jay A. Levenson, Konrad Oberhuber, sereni, paiono intervenire con competenza nel sulle incisioni di Giulio Campagnola,” in Venezia Jacquelyn L. Sheehan, exh. cat. (Washington: dibattito filosofico.” Sorce, Di ninfe, 73. Cinquecento 13 (2003–2004): 26, 47–110, or Paul National Gallery of Art, 1973), 399. A further the- 47. See also Paolo Pino, Dialogo della Pittura: “La Holberton, “Notes on Giulio Campagnola’s prints,” matic connection can be recognized in a figure pittura è poesia cioè invenzione.” Print Quarterly 13 (1996): 397–400. in Marcantonio Raimondi’s engraving “Raphael’s 48. “una nuova natura prodotta dall’arte.” Carlo 15. TIB 2518.004, 469–70; Holberton, “Notes,” Dream.” Ridolfi, Le maraviglie dall‘arte, (Venedig, 1648), 397–98. 29. “diffidandosi di Venere fare sì bella come and Vita di Giorgione Da Castel Franco Pittore, 16. See Dagmar Korbacher, Paradiso and Poe- bisognava, la volta di dipinse spalle”: Sannazaro, ed. Detlev Freiherrn von Hadeln, vol. 1 (Berlin, sia. Zur Entstehung arkadischer Naturbildlichkeit Arcadia, Prosa 3, 78. On Carradore, see Giulio 1914), 95. bis Giorgione (Augsburg: Staden-Verlag, 2007), Campagnola, 91, and Patricia A. Emison, “Asleep 49. For example, the sunset described by Sanna- 77–78. in the grass of Arcady. Giulio Campagnola’s zaro, Arcadia, Prosa 5,1, 95. 17. See TIB 2518.006, 471–72; Giorgione a Dreamer,” Renaissance Quarterly 45. (1992), Padova: l’enigma del carro, ed. Davide Banzato 271–92, 276. (Ausstellungskatalog Padua, Musei Civici agli 30. TIB 466-467; TIB 2518.013, 486; and TIB Eremitani), Milan 2010, cat. I.5, 186 (Franca Pel- 2519.012, 510–11; Giorgione a Padova, cat. I.7, legrini), Franca Pellegrini, Giulio Campagnola, 187 (Franca Pellegrini); Sorce, Di ninfe, 80, 85, l’amico padovano di Giorgione, in: Giorgione a 89; Le siècle de Titien, cat. 133, 527 (Konrad Padova: l’enigma del carro, ed. Davide Banzato Oberhuber); Early Italian Engravings, cat. 150, (Ausstellungskatalog Padua, Musei Civici agli 410–13 (Konrad Oberhuber). Eremitani), Milan 2010, 49–56, 55; Sorce, “Di 31. Christophe Brouard has recently proposed ninfe,” 54–63; Le siècle de Titien. L´âge d`or de that the entire work may be from the hand of la peinture à Venise (exh. cat. Paris, Grand Pal- Domenico: Arkadien: Paradies auf Papier. Land- ais), Paris 1993, cat. 123, 521–22 (Konrad Ober- schaft and Mythos in Italien, ed. Dagmar Kor- huber). bacher, exh. cat. (Berlin, Kupferstichkabinett), 18. This mood is enhanced in a print by an artist cat. 49, 158–59. belonging to the circle of Giulio showing a youth 32. See Konrad Oberhuber in Early Italian Engrav- in a toga or cloak contemplating a skull. See TIB ings, 392, on weaknesses in the representation of 2518.018, 489–90; also, Giorgione a Padova, cat. landscape and depth. I.9, 189 (Franca Pellegrini). 33. The influence of Dürer extends to both the- 19. For more detail on Campagnola and pasto- matic connections and technical details, mainly ral and Arcadian themes: Sorce, Di ninfe, 70–89. found in the following works: Penitence of Saint On the problem of pastoral landscapes and the Chrysostomos (TIB 2518.003, 467–68), Gany- overuse of the term “pastoral,” see De eeuw van med (TIB 2518.007, 472–73; De eeuw van Titiaan Titiaan, 61 and 65, n. 14. (cat. II.2, 68) or the fragment of a landscape (TIB 20. See TIB 2518.009, 476–77; Pellegrini, Giulio 2518.012, 485). Campagnola, 52; Sorce, Di ninfe, 73; De eeuw 34. See Konrad Oberhuber, Introduction, in Early van Titiaan, cat. II.4, 71; Le siècle de Titien, cat. Italian Engravings, xxiii. 125, 522–23 (Konrad Oberhuber). 35. Ibid, 393. 21. See Carradore, Giulio Campagnola, 91. 36. See TIB 2518.005, 470–471; Frühe Kupfer- 22. See Sannazaro, Arcadia, Prosa 6; Ekloge 6; stiche aus Italien, ed. Gudula Metze, exh. cat. Prosa 9; Prosa 11, 108–109, 109–116, 150–157, (Dresden: Kupferstich-Kabinett, 2013), cat. 183, 195–205. 236 (Gudula Metze); Giorgione a Padova, cat. I.4, 23. TIB 2518.010, 478–81; Sorce, Di ninfe, 76; S. 185 (Franca Pellegrini); De eeuw van Titiaan, Giorgione a Padova, cat. I.6, S. 186–87 (Franca cat. II.1, 66; Early Italian Engravings, cat. 149, S. Pellegrini); Le siècle de Titien, cat. 129, 524 (Kon- 402–409 (Konrad Oberhuber); Le siècle de Titien, rad Oberhuber); Hans Tietze and Erika Tietze- cat. 124, 522 (Konrad Oberhuber). Conrat refer to a related drawing in Paris. The 37. See Early Italian Engravings, cat. 149, 406 differences cannot be entirely explained by the (Konrad Oberhuber); Paris, Musée du Louvre (RF “petrification through the graving tool”: “Giulio 1979). Campagnola’s engravings,” The Print Collector’s 38. “Sensibilità paesistica,” Carradore, Giulio

Art in Print January – February 2015 11 Claude Lorrain and the Notion of Printed Arcadian Landscapes By Christian Rümelin

he use of landscape as subject and T background in prints dates back to the late 15th century, but new approaches appeared in Rome in the early 17th century. Claude Lorrain concentrated on the depiction of landscape from early in his career, and Joachim Sandrart described how he would go out into the Roman countryside with fellow artists to draw directly from nature.1 Unlike his peers, however, Claude transformed these experiences into a novel kind of landscape subject. He took time to observe nature closely and then developed new images in his studio that derived from those experiences; these works, though invented, remained as faithful as possible to what he considered to be the true appearance of things.2 The Arcadian landscapes he developed through this process became an integral part of his oeuvre. Claude’s practice of drawing and gath- ering inspiration from nature is evident in his Roman sketchbook from the early 1630s.3 In the prints he began making probably shortly after, he transformed the experiences gathered in the drawings through technical and formal innovation, in the process establishing influen- tial new modes and paradigms. Of the 44 etchings Claude produced over the course of his career, none is an academic reproduction. Most of the early prints are markedly independent works, even those linked to drawings; they represent an alternate means of addressing the same basic questions: creating richly atmospheric images by rendering landscape’s intrinsic characteristics of space, light, and texture. Arthur M. Hind Above: Fig. 1. Claude Lorrain, Les deux paysages (The two landscapes), (ca. 1630), etching, stressed the originality of Claude’s prints 13 x 19.8 cm. Collection of the Rijksmuseum, Amsterdam. Below: Fig. 2. Claude Lorrain, L’apparition as far back as 1925,4 and yet within con- (The apparition) (ca. 1630), etching, state I/V, 10.7 x 17.2 cm. ©Cabinet d’arts graphiques des Musées ventional academic hierarchies it remains d’art et d’histoire, Genève, acquired with the assistance of the Société des Amis du Musée, Jean Bonna, underrated.5 Pierre Darier, Philippe et Catherine Pulfer, inv. n° E 2011-0125. The countryside of the prints (and to a lesser extent the drawings) is never occupied Claude in his drawings, paint- Most of the sketches were made with brush empty: goats and sheep consort with ings and other prints, and he used them and ink, and feature large washed areas rural figures who converse, dance, tend to broaden his abilities and to explore that could be easily translated into paint- their cattle and occasionally commit a fresh ways of working. ings, but not prints. A few pen-and-ink robbery. These calm, sunny, pastoral A striking example is provided by the drawings, however, can help shed light on scenes offer a counterpoint to the violent comparison between a drawing from the Claude’s understanding of etching and his storms, harbor scenes, and fireworks that Roman sketchbook and an early print. treatment of Arcadian imagery. A draw-

12 Art in Print January – February 2015 trees, while the fundamental composition usually remained the same. To soften some parts of the image he eliminated other parts, harmonized the overall tonal values and developed a new understanding of the background landscape—solutions applicable only to prints. For Claude, such technical issues were intertwined with iconographical ones: if the balance could be perfected, the particularities of the subject would shine forth. A long succession of states was often required to achieve this balance, especially for pastoral landscapes,8 which demanded a light, airy, joyful atmosphere, in contrast to the dark, dan- gerous shipwrecks and thunderstorms. By the mid-1630s, Claude had mas- tered these questions and concentrated increasingly on Arcadian subjects such as dancing peasants and herdsmen, some Fig. 3. Claude Lorrain, Scène de brigands (Scene of brigands) (1633-1635), etching and spit bite playing the flute as in Le Bouvier (The aquatint, state Vb/IX, image 13.1 x 19.8 cm, sheet 15.7 x 22.5 cm. ©Cabinet d’arts graphiques des Cowherd).9 Even biblical subjects such as Musées d’art et d’histoire, Genève, acquired with the assistance of the Société des Amis du Musée, Jean Bonna, Pierre Darier, Philippe et Catherine Pulfer, inv. n° E 2011-0129. Rebecca et Eliezer (Fig. 4) could be trans- ported to Arcadia. ing in the British Museum, Tree and distant In pastoral and rural drawings and In the 1640s Claude made a number of View (1630), reveals an idea almost identical etchings, such as the various states of prints that derived from prior paintings, to that of the etching Les deux paysages (The the Scène de brigands (Scene of brigands) but these also are not reproductive. The Two Landscapes) (Fig. 1), usually considered (Fig. 3),7 Claude began to concentrate less prints rework elements from the paint- part of Claude’s first set of etchings. The on the foreground figures and more on ings at a different scale and with differ- works share the same conception of the depicting distant views in detail. He also ent types of marks and structures. They tree, the same manner of depicting foli- started to employ the process of succes- are designed to function differently, too: age with abbreviated, slightly ascending sive changes as an important part of his paintings were always commissioned, hatching to deepen the shadows, and the method—a road to innovation. Some which meant both the client and the same rather summary treatment of the plates from the later 1630s were reworked context were predetermined. Prints, background. Evidently, Claude developed repeatedly, frequently in the sky and the however, were usually produced for the this idea while out sketching and later attempted to translate it into etching. The numerous, somewhat awkward lines and strokes in the print probably indicate his lack of mastery with the etching needle and his difficulty adjusting to the smaller dimensions of the plate. Though Claude attempted effects similar to those in the drawings, early prints such as this do not quite succeed, and may well have been intended merely as technical experiments. His skills as an etcher improved quickly, however, as can be seen in Le pâtre et la bergère (The herdsman and the shepherdess), enabling him to attain a complexity of background comparable to that of his drawings.6 L’Apparition (The apparition) (Fig. 2) is the first etching in which Claude varied the lines and where the gradual recession of the landscape into the background is convincingly rendered. Though the image is developed Fig. 4. in detail and space is differentiated with Claude Lorrain, Le Pont de Bois (Rebecca et Eliézer) (The Wooden Bridge [Rebecca and Eliézer]) (ca. 1638–1641), etching, state IVb/VII, image 12.8 x 19.2 cm, sheet 13.1 x 19.7 cm. ©Cabinet great subtlety, it has no direct connection d’arts graphiques des Musées d’art et d’histoire, Genève, acquired with the assistance of the Société to any prior drawing or painting. des Amis du Musée, Jean Bonna, Pierre Darier, Philippe et Catherine Pulfer, inv. n° E 2011-0141.

Art in Print January – February 2015 13 to be understood by the viewer in more abstract terms. For Arcadian subjects this could be an advantage: they could be paired as companion pieces to establish deeper, more complex meanings while remaining open to the imagination of the viewer. Small prints, however, could not compete with the visual impact of paired paintings shown as companion pieces. They remained objects for private contemplation or discussion in small groups. In a series of twelve etchings made in 1637–1638, Claude paired his prints for the first time, matching each etching to another that was similar in its focus on the protagonists of the image but contrary in mood—for example, combining a dramatic storm such as La Temptête (The Tempest, 1630/1640–41) with La Danse au bord de l’Eau (Dance on the Riverbank, about 1635–36 to about 1640/41), or Le Naufrage (The Shipwreck, 1640–41) with Le Bouvier, 1636/1640–41). Several years later he produced another pairing: Le troupeau en marche par un temps orageux (The Herd Returning in Stormy Weather, ca. 1650–51) (Fig. 5) and Berger et bergère conversant (Shepherd and shepherdess conversing, ca. 1651) (Fig. 6). The technical approach in Le troupeau is unlike anything Claude had attempted before. It is likely that he drew a preliminary sketch for the etching, since he was able to arrive at the final image within just two states.10 The development between states is similar to what we see in the etchings of the 1630s: the tenor of the sky is polished, and the herd, the Classical architecture and the landscape are reworked to mitigate the initially oppressive mood. The movement and position of the herd in the landscape are shifted so that its strong diagonal emphasizes the spatial depth of the composition and calls attention to the architecture. Claude pulled a counterproof at an early stage, probably to check Above: Fig. 5. Claude Lorrain, Le troupeau en marche par un temps orageux (The herd returning the progress on the plate.11 in stormy weather) (ca. 1650–51), etching, state IIb/IV, 16.1 x 22 cm. ©Cabinet d’arts graphiques des Like Le troupeau, Berger et bergère Musées d’art et d’histoire, Genève, acquired with the assistance of the Société des Amis du Musée, Jean Bonna, Pierre Darier, Philippe et Catherine Pulfer, inv. n° E 2011-0143. Below: Fig. 6. Claude shows a greater concern with figures and Lorrain, Berger et bergère conversant (Shepherd and shepherdess conversing) (ca. 1651), etching, their integration into the overall compo- drypoint and burnishing, state II/VII, 20.1 x 26 cm. ©Cabinet d’arts graphiques des Musées d’art et sition than we see in the earlier prints. He d’histoire, Genève, acquired with the assistance of the Société des Amis du Musée, Jean Bonna, began it with an initial approximation, a Pierre Darier, Philippe et Catherine Pulfer, inv. n° E 2011-0144. state he immediately reworked and corrected with pen and ink.12 Though he open market; the client and the artist did graphic questions or providing points of had already composed a painting on this not know each other and the context in comparison. On the one hand, prints can theme and recorded it in his Liber Veri- which the work would find itself could show greater detail than paintings; on tatis, Claude felt compelled to revise his not be controlled. Small and easily trans- the other they can be less explicit. Finally, initial solutions as he worked toward a portable, prints might be inserted into their reliance on line, black ink and white definitive etched version.13 He moved a wide variety of settings. They served paper, in place of paintings’ full chro- away from his model, eliminating the vil- as visual arguments, clarifying icono- matic range and tonality, meant they had lage in the middle ground and reinforc-

14 Art in Print January – February 2015 Clockwise from bottom left: Fig. 7. Simone Cantarini, Mercury and Argus (ca. 1642), etching, state I/II, 25.2 x 30 cm. Collection of the Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1926. Fig. 8. Moyses van Wtenbrouck, Mercury and Argus (1621), Etch- ing, state III/III, 13 x 18.5 cm. ©Cabinet d’arts graphiques des Musées d’art et d’histoire, Genève, inv. n° E 2014 -1615. Fig. 9. Claes Cor- neliszoon Moeyaert, Landscape with Mercury and Argus (ca. 1612–1655), etching, 11 x 19 cm. Collection of the Rijksmuseum, Amsterdam. Fig. 10. Claude Lorrain, Argus et Mercure (Argus and Mercury) (1662), etching, touched in brown seen in the context of 17th-century print- for the landscape print. ink, counter-proof of state I/III (unique impres- making. It is not known which artists Mythology—most notably the story of sion), 16 x 22 cm. ©Cabinet d’arts graphiques Claude met in Rome or which works of Mercury and Argus—also offered a con- des Musées d’art et d’histoire, Genève, acquired art he saw, but he was certainly not alone venient device for entering the Arcadian with the assistance of the Société des Amis du Musée, Jean Bonna, Pierre Darier, Philippe et in the practice of going into the country- landscape. A comparison of four prints— Catherine Pulfer, inv. n° E 2011-0145. side to sketch, nor in his desire to evoke by Simone Cantarini (Fig. 7), Moyses van Arcadia through etching—artists such as Wtenbrouck (Fig. 8), Claes Corneliszoon ing the contrast between the immediate Nicolaes Corneliszoon Moyaert, Jan Both, Moeyaert (Fig. 9) and Claude (Fig. 10)—all foreground and the figures. He smoothed Moyses van Wtenbrouck, Bartholomeus dating between roughly 1620 and 1650, the sky and foreground, reduced the Breenbergh and later Jan Lutma all used makes clear how distinct Claude’s strate- trees, and brought the figures closer. prints for pastoral scenes and mythologi- gies and treatment of his subject were.14 Early states show the mood of the sky cal narratives placed in Arcadian settings. All four prints show the protagonists in was initially more dramatic and the city The assertion of landscape as a self-suf- some detail (close up in the Wtenbrouck in the background less distinctly visible. ficient subject really started with prints, and Cantarini; at a distance but occupy- The changes produce an atmosphere of and to a lesser extent, drawings. In painting an important part of the composi- calm and make the image more overtly ing, landscape on its own, without the tion in the Moeyaert and Claude). Only Arcadian. With these two prints—seem- legitimization of mythology or religious Claude, however, chose to place them in ingly his only etchings of the early content, was not yet imaginable in France an antique landscape. In this print, as in 1650s—Claude invented a means of dis- or Rome. Print artists working in the tra- his other work, he links Classical archi- seminating Arcadian compositions and dition of views of Roman ruins and architecture and pastoral elements, combin- of attracting potential patrons. tecture, however, began to expand the ing conventional architectural views of The singularity of Claude’s achieve- repertoire of subjects and compositional Rome with his own innovative rendering ment becomes visible when his work is motifs, opening up new vistas of content of landscape.

Art in Print January – February 2015 15 Claude pulled a counterproof of the first state of his Mercure et Argus (probably to facilitate implementation on the plate) and immediately overworked it to strengthen the pastoral effect,15 darkening all the foliage in the foreground to heighten the contrast with the adjoining section depicting Mercury and Argus. The overall aim was to achieve harmony within the etching and to embed the subject as deeply as possible within its pictorial context. The clouds, birds and other devices he used to break up the blank space of the sky attempted a degree of naturalism. Although the subject is mythological, it appears as an Arcadian scene. In most Roman landscape prints, such as the views by Bartholomeus Breenbergh (Fig. 11) or the landscapes by Jan Gerritsz. van Bronckhorst after Cor- nelis van Poelenburgh, the focus was on ruins. Although Arcadian landscapes did Fig. 12. Jan Both, Views of Rome and its surroundings: The muleteer on the Via Appia not require buildings, such architectural (1636 – 1652), etching, 19.8 x 27.7 cm. Collection of the Rijksmuseum, Amsterdam. elements added sentimental value, which seems to have been Claude’s incentive. with transforming Rome into Arcadia, as e altre considerazioni,” in Römisches Jahrbuch His pastoral prints, drawings and (to a Claude did throughout his career. der Bibliotheca Hertziana, 34, 2001–02 (2004): lesser degree) paintings are character- For artists of the following genera- 221–254; and Christian Rümelin, Claude Lorrain: tion—Giovanni Francesco Grimaldi, The enchanted landscape. ized by their subtle rendering of mood. 6. Mannocci, Claude Lorrain, 5. Like Jan Both (Fig. 12), Claude played Dominique Barrière, Abraham Genoels 7. Ibid., 11. with the horizon line and concentrated and Frans de Neve—his inventions were 8. Le Passage du gué (The Ford) (Mannocci, Claude on the representation of light and atmo- transformative. Landscapes made after Lorrain, 12) remains an exception, as he reached its sphere. Both was more concerned with 1650 grow more adventurous and more definitive form in the second state (of three). 9. Ibid., 18. accurately recording real landscapes than innovative, even while borrowing exten- 10. This work, now in the collection of the Earl sively from the new master: Claude. of Leicester (MRD 685), is not the drawing that actually served as the transfer drawing. It was, however, a starting point to fix the composition, Christian Rümelin is Keeper of Prints and Draw- probably followed by a second drawing, which ings at the Musée d’art et d’histoire in Geneva. explains the various differences between the drawing and the print. 11. Claude had previously pulled a counterproof Notes: of the Campo Vaccino (Mannocci, Claude Lor- 1. Joachim von Sandrart, L’Academia Todesca rain, 17). Though counterproofs were sometimes della Architectura, Scultura & Pittura: Oder pulled for collectors, the small number in Claude’s Teutsche Academie der Edlen Bau- Bild- und oeuvre suggests he pulled them primarily for his Mahlerey-Künste, 2 vols (Nuremberg: 1675, own reference, not for an immediate sale. 1676), in particular vol. 1, part 3, p. 71, and vol. 2, 12. Mannocci, Claude Lorrain, 41. The unique part 3, pp. 331–333 impression of this state is at the British Museum. 2. This article is the continuation of my research 13. The Liber Veritatis is a record book in which on Claude as printmaker and is based on “The Claude drew every painting and recorded the search for the ‘True appearance of Things,’” in owner or person who ordered it. The book enabled Claude Lorrain: The enchanted landscape, exh. Claude to control his market and to reuse his own cat. (Oxford: Ashmolean Museum, 2011), 151– compositions, and was also an assurance against 159. forgeries. Previously owned by the Dukes of Dev- 3. See Marcel Roethlisberger, Claude Lorrain— onshire, it passed to the British Museum in 1957 The drawings, 2 vols. (Berkeley and Los Angeles: in lieu of inheritance tax. For conservation rea- University of California Press, 1968), 17 and nos. sons it was dismantled. The book was published 1–38. for the first time in aquatint by Richard Earlom in 4. Arthur Mayer Hind, “Review: Claude’s Etch- 1777 in three volumes. For a critical discussion, Fig. 11. Bartholomeus Breenbergh, Les ruines ings,” in The Burlington Magazine for Connois- see Michael Kitson, Claude Lorrain: Liber veritatis romaines, planches 3: ruines de San Lorenzo seurs, vol. 47, no. 269 (August 1925): 106. (London: British Museum Publications, 1978). Vecchio près de Bolsena (The Roman ruins, 5. For an overview of Claude’s prints, see H. 14. On Wtenbrouck see the detailed comments plate 3: ruins of San Lorenzo Vecchio near ;Bol- Diane Russell, Claude Lorrain: 1600–1682. exh. in vol. 54 of the Hollstein series, in particular pp. sena) (1639–1640), etching, image 9.4 x 6.6 cm, cat. (Washington: National Gallery of Art, 1982); 85–92. sheet 9.9 x 7.2 cm. ©Cabinet d’arts graphiques Lino Mannocci, The etchings of Claude Lorrain 15. The unique impression in the Cabinet d’arts des Musées d’art et d’histoire, Genève, inv. n° E (New Haven: Yale University Press, 1988); Sergio graphiques of the Musées d’art et d’histoire, 2012-0381-003. Bettini, “I Feux d’artifice di Claude Lorrain: fortuna Geneva. See also Mannocci, Claude Lorrain, 42.

16 Art in Print January – February 2015 Arcadia Unbound: Early Dutch landscape prints and the Amenissimae aliquot regiunculae of 1616 by Jan van de Velde II By Robert Fucci

he theme of Arcadia in 17th-cen- T tury Dutch printmaking is inex- tricably linked to the rise of a naturalistic landscape tradition in the newly independent Northern Netherlands; or, to put it more accurately, a naturalistic mode of landscape that pointedly and convincingly depicted local environs, rural byways and their native inhabitants. The town of Haarlem has long been recognized as an epicenter for this explosion of regionally derived landscape imagery in the second decade of the 17th century. The artists who pioneered the genre, such as Willem Buytewech, Esa- ias van de Velde, Hercules Segers and Jan van de Velde II, worked in the city, which had already become a renowned center of print production.1 Significantly, the early Dutch landscape pioneers chose etching as the medium for a large number of their most original conceptions. Fig. 1. Esaias van de Velde (attributed to), Arcadian Landscape (early 17th century), woodcut on blue paper, The visualization of Arcadia, either as unique impression of the first state, 18 x 25 cm. Collection of the New York Public Library. Photo: Robert Fucci. an imagined past or an idealized present, was not new to European printmaking. reinforced by waterfalls) and a vigorous It is certainly no coincidence that a Titian and other Italian artists explored emphasis on the majesty of the landscape considerable number of Dutch poets and the theme in the 16th century, and their and its constituent trees and sky.4 playwrights introduced Arcadian or pas- efforts were well-known in the North.2 Idealized or imagined landscapes such toral themes into their works in the early In the first major Dutch treatise on the as these persisted in 17th-century Dutch 17th century.6 One of the most promi- visual arts, Het Schilder-boeck (The Book art despite the concomitant rise of the nent, enjoying a long afterlife in many of Painting) of 1604, Haarlem artist Karel locally derived naturalistic landscape editions, was Johan van Heemskerck’s van Mander singled out Titian’s woodcuts tradition, though both appear to have Batavische Arcadia (Batavian Arcadia), for instruction on the difficult spatial found their popularity primarily in prints which describes a pleasurable outing relationships between ground, buildings before reaching the more exalted medium of fashionable gentlefolk.7 These con- and distant prospects that landscape of painting. Similar shepherds and classi- temporary characters ride in a carriage necessitates.3 While woodcut was not cal temples appear in the backgrounds of through the woods and dunes between an especially favored medium in 17th- the works of history painters, especially The Hague and Katwijk, addressing each century Dutch printmaking, the weight the so-called Pre-Rembrandtists active in other as “shepherd” and “shepherdess” of such a precedent is felt in the unsigned the first quarter of the 17th century, but along the way. As the commissioning of Arcadian Landscape woodcut, a work best these operate within a narrative context portraits of sitters in pastoral guise also appreciated in its more Titianesque line- (biblical or mythological) rather than as attests, members of the urban beau monde block state, before it was converted into subject matter in their own right. When evidently took their alternate pastoral a mottled chiaroscuro woodcut with nonnarrative Arcadian or pastoral themes personae to heart. the addition of tone blocks (Fig. 1). Once do begin to appear in Dutch painting in Most of these Arcadian literary pro- attributed to Hendrik Goltzius but now the late 1620s, the emphasis is on figures ductions, of course, found their common to Esaias van de Velde, this work bears rather than landscapes. These paintings ancestors in the increasingly popular several hallmarks of Arcadian-themed are often portraits of the moneyed elite in Classical works of Theocritus, Ovid and landscapes: the seated shepherd in the the guise of shepherds, or literal illustra- especially Virgil, whose Eclogues cel- foreground tending his flock, a classically tions of characters from romantic pasto- ebrates the carefree life of shepherds inspired round temple, hilly terrain (here ral plays popular at the time.5 and Georgics the life of the farmer. That

Art in Print January – February 2015 17 Fig. 2. Jan van de Velde II, Summer from the series Four Seasons (1617), etching, 26.7 x 35.7 cm. Collection of the Rijksmuseum, Amsterdam. Fig. 3. Jan van de Velde II, Winter from the series Four Seasons (1617), etching, 26.7 x 35.8 cm. Collection of the Rijksmuseum, Amsterdam. an artist, van Mander, was the first to rather than imitate or copy others.10 For milks the ewes and soothes the foaming translate these last two into Dutch (in someone training as a printmaker at the udders, she presses out the milk and stores 1587) is surely significant. Despite his time, this would indeed have been novel the bee’s honey in overflowing urns.”13 In detailed instructions on the depiction advice. Jan II’s own master, the noted such a formulation Arcadia is not too far of landscape in the Schilder-boeck, van engraver Jacob Matham, worked primar- off. One need only explore the local coun- Mander and other artists of his genera- ily after the designs of others. Further- tryside to find it. According to the caption tion treated the depiction of the natural more, Jan tended to etch his landscape on van de Velde’s etching of winter from world as a supplementary component in designs rather than engrave them, even the same series, this can be true for cold- service to a main narrative or scene of after his intensive training in mastering weather scenes as well, which invariably greater import. The rise of landscape as the burin. Etching, as the more rapid and show skaters cavorting on the ice, a most an independent genre only occurred in easily learned process, became more and Dutch and decidedly un-Classical spec- force in the following decade and notably more popular as a sideline among paint- tacle: “Cold weather is not inactive, nor is just after the United Provinces achieved ers such as Buytewech and Esaias van de it characterized by tedium; Oh, Ovid, you a modicum of peace, and nominal state- Velde. While both etched some of their are mistaken!”14 (Fig. 3). Classical author- hood, with the signing of the Twelve own designs, Jan also prepared some of ity needed to be corrected to adjust for Years’ Truce in 1609. Most art-histor- their plates, suggesting a close working the virtues of Northern climes. Thus, the ical narratives understandably stress relationship among these innovators. series self-consciously strives to preserve the more naturalistic or local-appear- Esaias may have even been a relative of its Arcadian sensibility within an overtly ing landscapes in their developmental the slightly younger Jan (perhaps a sec- Netherlandish domain. accounts of the distinctively Dutch land- ond cousin), though just how remains This transfiguration of the local into scape tradition, with the result that the unclear.11 the universal occurs in his similarly more imaginative Arcadia-tinged works, Printmaking afforded the younger van themed series of Twelve Months, which seemingly unbound by time or place, are de Velde the ability to work in series, to are known in three different sets of sin- often pushed to the margins.8 Of all the produce multiple single-sheet images in gle-sheet images.15 Most show local views aforementioned Haarlem pioneers who sequence in the same format and to sell of the rural environs in and around Haar- innovated the landscape genre in their them as a set. He took advantage of this lem, sometimes with a view of the city in print designs, Jan van de Velde II (ca. strategy especially in the years 1615–1617, the distance. In the series dated 1616, the 1593–1641) was the only one who consis- when he published a prodigious number image for June depicts that most essen- tently employed Arcadian formulas in his of landscape etchings in series. Some tially pastoral of scenes, which could work. These could even work in tandem are thematic in nature, such as the Four be taken straight from the Eclogues— with more obviously local scenery, often Seasons of 1617 in which the Latin cap- a reclining shepherd lazily playing his appearing in the same series. tions betray an obviously Virgilian spirit horn while his flock grazes around him Van de Velde II was the son of a in their evocation of the universal cycle (Fig. 4). In this case, the dense foliage famous calligrapher, or schrijfmeester, of time and the poetic beauty of rural and the decaying well are the main sub- of the same name who published one of life.12 This is true even when they depict jects, with the shepherd acting as mere the most popular handwriting manu- something as clearly Dutch and con- staffage. One can also note van Mander’s als of the era.9 The remarkable survival temporaneous as a windmill with local advice to have foreground figures recline of a series of letters from father to son farmers in the scene for summer (Aestas) in order not to spoil the view of the land- during the latter’s apprenticeship reveals (Fig. 2). The caption functions more to scape itself. Curiously, van Mander habit- that Jan the Elder encouraged his son to evoke Virgilian verse than to illustrate ually gave his advice on the production invent his own designs for publication the scene literally: “The countrywoman of landscapes through citing characters

18 Art in Print January – February 2015 Fig. 4. Jan van de Velde II, June from the series Twelve Months (1616), etching, 16 x 30.3 cm. Collection of the Rijksmuseum, Amsterdam. from Classical texts, even some straight tive for any particular landscape, but to important early Dutch landscape print from the Eclogues: “Show how Tityrus [a impress upon his student readers the idea series, which often play on the classical shepherd] with his flute entertains Ama- that landscape generally is pastoral. The ideal of the locus ameonus, or “pleasant ryllis, his beloved among women, resting distinction between an explicit vision of place.” For Classical authors, this repre- beneath an oak tree, while even his flock Arcadia as opposed to a locally imagined sented an idealized pastoral setting away enjoys the pleasant sound.”16 Van Man- variation was not always clear. from urban cares. Claes Jansz. Visscher der used these characters not to suggest Nowhere is this more apparent than used the Dutch title Plaisante plaetsen a literal Virgilian narrative or subnarra- in the title pages for some of the most (Pleasant places) perhaps as early as 1611 for his seminal series of prints depicting identified rural locations around Haar- lem.17 The earliest dated use of the term, this time Latinized, is found on Claes van Wieringen’s Amaeniores aliquot regiunculae (Some pleasant places) of 1613. And the earliest dated work by Jan van de Velde II in any genre is his 1615 series, Amoenis- simae aliquot regiunculae et antiquorum momentorum ruinae (Some most pleasant places and ruins of ancient monuments), a series of 18 landscape etchings that used a groundbreaking oblong format.18 Shortly thereafter he used an abbreviated version of this title, Amenissimae aliquot regiunculae (Some most pleasant places), for a more extensive series of landscapes first published in 1616 (Fig. 5).19 This last series is worth dwelling upon. Not only was it van de Velde’s most exhaustive production, in final form numbering 60 single-sheet etchings, but to judge from the publishers’ addresses and the number of surviving impres- 20 Fig. 5. Jan van de Velde II, Title page for the series Amenissimae aliquot regiunculae (1616), etching, sions, it was also frequently reprinted. bound in first-state sequence, image 13.4 x 19.9 cm. Stadtbibliothek, Trier, Germany. Photo: Robert Fucci. Despite its apparent popularity in the

Art in Print January – February 2015 19 Left: Fig. 6. Jan van de Velde II, Landscape with the Ruins of Brederode Castle from the series Amenissimae aliquot regiunculae (1616), etching, bound in first-state sequence, image 12 x 19 cm. Stadtbibliothek, Trier, Germany. Photo: Robert Fucci. Right: Fig. 7. Jan van de Velde II, Landscape with the Casa dei Crescenzi (also Tobias and the Angel) from the series Amenissimae aliquot regiunculae (1616), etching, bound in first-state sequence, image 12 x 18.8 cm. Stadtbibliothek, Trier, Germany. Photo: Robert Fucci.

17th century and ubiquity in present-day armchair travel, the particular journey the latter are applied to some overtly print rooms (or perhaps because of these offered by the Amenissimae aliquot regiun- imaginary scenes. things), the 1616 Amenissimae is among culae appears to transcend any notion of The Trier volumes also reveal that the the least discussed landscape series in temporal or spatial sequence or logic. Amenissimae aliquot regiunculae origi- the art historical literature of the Dutch Due to the remarkable survival of a nally comprised only 52 plates instead Golden Age, or in van de Velde’s formative unique and nearly complete set of first- of 60, and was divided into two parts oeuvre in particular. state impressions in a bound volume in numbered 1 to 26, each with its own title One of the most notable features of the Stadtbibliothek of Trier, we can view page. These numbers were effaced in the this series is the remarkable balance it this series as it would have been seen by second state and reordered in seemingly strikes between the seemingly local, the a 17th-century viewer leafing through the random fashion, this time in five parts seemingly foreign and the altogether scenes one by one. The volume is one of numbered 1 to 12, each with its own title imaginary. In the title page, for example, a two-volume set from the former Jesuit page as well (see Appendix). Thus, of the two men begin their journey by wan- College in Trier that contains multiple eight plates added for the second state, dering through a Classical portal with series of landscape etchings by van de three are new title pages and the other antique ruins around them (Fig. 5). The Velde II, Mattaeus Merian, Simon Fri- five are landscapes with structures or city walls have crumbled to the point sius and others.21 Interestingly, the vol- ruins placed in the new part II as num- that the portal seems superfluous, merely ume containing the Amenissimae reveals bers 2, 3, 4, 5 and 12. Such restructuring signifying a liminal boundary to the that the first states were ordered com- may have provided Visscher, who pub- landscape beyond. The text/image jux- pletely differently than the better-known lished the second state, a more market- taposition may be intended as a play on sequence found in the second state able offering, either as individual sets of the words amoenus (pleasant) and extra onward.22 Since loose first-state impres- 12, or the full set of 60 plates, depend- moenia (outside the walls) or a/ab moenia sions of most plates from this series are ing on the means of the customer or the (from the walls), where one finds such rarely found elsewhere (and some are desire for certain sets of images.23 pleasant places. The viewer’s journey completely unknown), the Trier volume While the specific logic of the renum- through the series, however, is a strange documents a sequence that would other- bering remains unclear, one can discern a one. The prints are numbered with no wise be difficult to reconstruct. Even in coherence in terms of the balance of vari- apparent logic: the images switch from this initial configuration, however, there ous types of imagery consistent with the local scenes, such as a Dutch-looking is no discernible sequential logic to the original sequence. As with a series of sea- town or the ruins of Brederode Castle scenes in terms of time or place, Arca- sons or months, part of the idea of a set is (Fig. 6), to foreign ones, with structures dian imagination or 17th-century reality. to offer a variation of time and setting. resembling the Baths of Caracalla or the The rare survival of the original sequence The deliberate contrast showcases the Casa dei Crescenzi in Rome (the latter reinforces rather than obviates the stud- artist’s creative facility. As we can see with Tobias and the angel inserted as ied balance between different types of from studying these landscape prints in staffage) (Fig. 7). One finds an ice skat- images, in contrast to a more topographi- their original contexts, the pastoral or ing scene between two with full summer cally oriented series such as Visscher’s Arcadian ideal was reflexively bound with foliage (Figs. 8, 9). While much has rightly Plaisante plaetsen in which the location a naturalistic landscape tradition that been made of the “journey format” of of every image is stated on the title page. came to fruition among a group of inno- early Dutch landscape print series, which The distinction between vernacular and vative printmakers who exploited the allows the viewer to indulge in a sort of Latin titles is perhaps significant, since series format. Only when the series were

20 Art in Print January – February 2015 Left: Fig. 8. Jan van de Velde II, Winter Scene with Skaters from the series Amenissimae aliquot regiunculae (1616), etching, bound in first-state sequence, image 12 x 18.8 cm. Stadtbibliothek, Trier, Germany. Photo: Robert Fucci. Right: Fig. 9. Jan van de Velde II, Landscape with Ruins from the series Amenissimae aliquot regiunculae (1616), etching, bound in first-state sequence, image 13.5 x 19.7 cm. Stadtbibliothek, Trier, Germany. Photo: Robert Fucci. removed from their bindings, as almost Appendix: The rearrangement of the Amenissimae aliquot regiunculae always happened for purposes of sale or classification, do the Arcadian and natu- The series originally contained 52 prints divided into two parts of 26 numbered prints each, and was ralistic traditions separate in prints as expanded to 60 prints divided into five parts of 12 numbered prints each. they do in paintings. Early 17th-century Dutch landscape prints in series not only New no. = Old no. / Old Part Hollstein extended the possibilities of the genre, but thematized the very notion of those New Part I possibilities. 1 = 1 I 232 10 = 10 II 265 2 = 6 I 233 11 = 11 I 266 3 = 17 II 234 12 = 12 II 267 4 = 23 II 235 Robert Fucci is a David E. Finley fellow at the 5 = 12 I 236 New Part IV Center for Advanced Studies in the Visual Arts 6 = 9 II 237 1 = new plate 268 (CASVA) in Washington, DC, and a PhD 7 = 21 I 238 2 = 2 I 269 candidate in the Department of Art History and 8 = 8 I 239 3 = 13 I 270 Archaeology at Columbia University, New York. 9 = 18 I 240 4 = 15 I 271

10 = 16 I 241 5 = 22 I 272 11 = 20 I 242 6 = 19 II 273 Notes: 12 = 15 II 243 7 = 17 I 274 1. For the history of Dutch landscape prints and 8 = 26 II 275 Haarlem’s role, significant works include: Hui- New Part II 9 = 24 I 276 gen Leeflang, “Dutch Landscape: The Urban 1 = new plate 244 10 = 18 II 277 View. Haarlem and Its Environs in Literature and 2 = new plate 245 11 = 20 II 278 Art, 15th–17th Century,” Nederlands Kunsthisto- 3 = new plate 246 12 = 19 I 279 rische Jaarboek 48 (1997): 52–115; Catherine 4 = new plate 247 Levesque, Journey Through Landscape in 17th- 5 = new plate 248 New Part V Century Holland: The Haarlem Print Series and 6 = 7 II 249 1 = new plate 280 Dutch Identity (Penn State University Press, 7 = 5 II 250 2 = 13 II 281 1994); Ger Luijten et al., Dawn of the Golden Age: 8 = 25 II 251 3 = 3 I 282 Northern Netherlandish Art 1580–1620 (Amster- 9 = 23 I 252 4 = 24 II 283 dam: Rijksmuseum, 1993); Boudewijn Bakker & 10 = 21 II 253 5 = 14 II 284 Huigen Leeflang, Nederland naar ’t leven: Land- 11 = 25 I 254 6 = 4 I 285 schapsprenten uit de Gouden Eeuw (Zwolle: 12 = new plate 255 7 = 26 I 286 Waanders, 1993) and David Freedberg, Dutch 8 = 22 II 287 Landscape Prints of the 17th Century (London: New Part III 9 = 11 II 288 British Museum, 1980). For important recent stud- 1 = 1 II 256 10 = 16 II 289 ies of Dutch landscape generally, see Boudewijn 2 = 2 II 257 11 = 14 I 290 Bakker, Landscape and Religion from Van Eyck 3 = 3 II 258 12 = 10 I 291 to Rembrandt (London: Ashgate, 2012); and 4 = 4 II 259 Walter S. Gibson, Pleasant Places: The Rustic 5 = 5 I 260 Landscape from Bruegel to Ruisdael (Berkeley: 6 = 6 II 261 University of California Press, 2000). 7 = 7 I 262 2. A recent overview of the theme of Arcadia in 8 = 8 II 263 16th-century Italian prints is Dagmar Korbacher, 9 = 9 I 264

Art in Print January – February 2015 21 Arkadien: Paradies auf Papier (Petersburg: Imhof, of his prints is Ger Luijten & Christiaan Schuck- 2014). man, Hollstein’s Dutch & Flemish Etchings, 3. Karel van Mander, Het Schilder-boeck (Haar- Engravings and Woodcuts ca. 1450–1700, Vols. lem, 1603–04), specifically in the section devoted XXXIII–XXXIV (Roosendaal: Koninklijke van Poll, to foundational principles, Den grondt der edel vry 1989), 2 vols. (hereafter cited as Hollstein). Purchase schilder-const, fol. 36 recto. For an English trans- 10. As his father wrote, “The art of invention is lation of the chapter devoted to landscape, see better than imitation and copying” (De konst van Christopher Brown, Dutch Landscape, the Early Inventeren is beter dant naermaken en copieren). Back Issues Years: Haarlem and Amsterdam, 1590–1650 The letters are transcribed along with a French (London: National Gallery, 1986), 35–43. translation in Daniel Franken & J.Ph. van der Kel- 4. For this work, its attribution issues and its con- len, L’Oeuvre de Jan van de Velde: Graveur Hol- of Art in Print. version to a chiaroscuro woodcut, see Clifford landais, 1593–1641 (Amsterdam: Frederik Muller, S. Ackley, Printmaking in the Age of Rembrandt 1883). For the context of this statement in the his- (Boston: Museum of Fine Arts, 1981), 50–53, tory of print publishing, see Eddy de Jongh & Ger nos. 27–28; and George S. Keyes, Esaias van de Luijten, Mirror of Everyday Life: Genreprints in Velde, 1587–1630 (Doornspijk: Davaco, 1984), the Netherlands 1550–1700 (Amsterdam: Rijks- 351–352, cat. A121. A series of four landscape museum, 1997), 18–19. The original letters reside woodcuts by Goltzius, somewhat related in style today in the Rijksprentenkabinet, Amsterdam. and subject matter, have been convincingly rein- 11. Jan van de Velde II is frequently cited as either terpreted recently as representing both the Four the nephew or first cousin of Esaias. Both are Ages and Four Elements; see Marjorie B. Cohn, incorrect. While the father of Jan I and the father “An Interpretation of Four Woodcut Landscapes of Esaias are both named Hans van de Velde and by Hendrick Goltzius,” Print Quarterly 31 (2014): both came from Antwerp, they are different peo- 144–154. ple of uncertain relation, as J.G.C.A. Briels has 5. The standard study of the theme in Dutch shown (see Keyes, Esaias van de Velde, 20–26). figural painting is Alison McNeil Kettering, The The confusion has no doubt been compounded by Dutch Arcadia: Pastoral Art and its Audience in the fact that neef in Dutch can mean both nephew the Golden Age (Montclair, NJ: Allanheld & Sch- and cousin. ram, 1983). For an exhibition devoted to Dutch 12. Hollstein 30–33. For another set of Four Sea- paintings in the pastoral mode, with quite a few sons by van de Velde published in the same year, that illustrate contemporary plays (especially P.C. see Hollstein 26–29. Hooft’s Granida), see Peter van den Brink, Het 13. Translation from Luijten et al., Dawn of the Gedroomde Land: Pastorale schilderkunst in de Golden Age, 659, no. 330. Gouden Eeuw (Zwolle: Waanders, 1993). 14. Idem. 6. For the Arcadian theme in 17th-century Dutch 15. Hollstein 46–57 (dated 1616), Hollstein 34–45 literature, see Maria A. Schenkveld, Dutch Lit- (dated 1618) and Hollstein 58–70 (undated). erature in the Age of Rembrandt: Themes and 16. Brown, Dutch Landscape, 42. Ideas (Amsterdam: John Benjamins, 1991); M.A. 17. Visscher’s Plaisante plaetsen are variously Schenkeveld–van der Dussen, “Nature and Land- dated ca. 1611–1613 based upon the Kalverstraat scape in Dutch Literature of the Golden Age,” in address on the title page, which provides a termi- Did you know you can Brown, Dutch Landscape, 72–78; and Kettering, nus post quem of May 26, 1611, when Visscher The Dutch Arcadia, 19–31. moved to that location. See the entry in Luijten et purchase any issue of 7. Johan van Heemskerck, Batavische Arcadia al. Dawn of the Golden Age, 653–655, no. 327. Art in Print? (Amsterdam, 1637). For a discussion of this work, 18. Hollstein 178–195. see Kettering, The Dutch Arcadia, 71–73. 19. Hollstein 232–291. 8. Much of this distinction is defined using the 20. As indicated on the title page, the publisher Miss the New Editions issue? early modern Dutch terms naer het leven (“from of the final state was Peter Schenk the Younger life”) and uit den geest (“from the imagination”) (1693–1775). Need the Stanley William as the predominant art-theoretical modes under 21. Konrad Koppe, “Zwei Graphikbände des 17. which landscapes were produced. As David Jahrhunderts aus dem Trier Jesuitenkolleg,” Kur- Hayter issue for your Freedberg has pointed out, however, the two trierisches Jahrbuch 28 (1988): 223–262. Koppe library? concepts were not altogether distinct in practice carefully catalogued the full contents of both vol- (Freedberg, Dutch Landscape Prints, 11). For an umes, numbering nearly 484 single-sheet prints in important study of this issue, see Claudia Swan, total, many of which are early 17th-century land- Want to give the Renaissance “Ad vivum, naer het leven, from the life: defin- scape etchings. issue to a friend? ing a mode of representation,” Word & Image 22. Fortunately, this was noted by the Holl- 11 (1995): 353–372; for an investigation into the stein compilers just before the publication of history of the terminology, see Boudewijn Bakker, the volumes on Jan van de Velde II. For a brief All 15 issues of Art in Print “Au vif—naar ’t leven—ad vivum: The Medieval announcement of the discovery, see Ger Luijten, are available on MagCloud Origin of a Humanist Concept,” in Aemulatio: Imi- “Two Early 17th-Century Print Albums in Trier,” at www.magcloud.com/user/ tation, emulation and invention in Netherlandish Print Quarterly 6 (1989): 313. Contrary to Holl- art from 1500 to 1800. Essays in honor of Eric Jan stein, the Trier set is not quite complete since the established-2011. Sluijter (Zwolle: Waanders, 2011), 37–52. last plate is missing (but with no signs of tamper- 9. Jan van de Velde II is the subject of the author’s ing to the volume). Thus, the last plate in the first- If you have any questions, forthcoming PhD dissertation: Jan van de Velde state series (Hollstein 275) is now only known in II (c.1593–1641): The Printmaker as Creative a single impression in the Rijksprentenkabinet, please contact us at Artist in the Early Dutch Republic (Columbia Uni- Amsterdam. [email protected]. versity, in progress). The last critical monograph 23. For a recent study of Visscher and some of his on the artist was van Gelder’s important 1933 marketing practices, see Huigen Leeflang, “The dissertation: J.G. van Gelder, Jan van de Velde Sign of Claes Jansz Visscher and his Progeny: 1593–1641, Teekenaar—Schilder (The Hague: The History and Significance of a Brand Name,” Martinus Nijhoff, 1933). The standard catalogue Rijksmuseum Bulletin 62 (2014): 241–268.

22 Art in Print January – February 2015 “Our joy be Arcadian, and free!” Arcadia in German Prints Around 18001 By F. Carlo Schmid

“the peasant must obediently hand over any surplus earned from his daily grind to his lord and the towns to enable them to live in abundance; repression and poverty have made him sly, uncivilised and despi- cable.”3 Gessner illustrated his poems with etchings, and created masterful Arcadian landscapes in gouache. He structured his compositions with hedges, bushes and trees, affording the protagonists a protected space, a locus amoenus (pleasant place) in which to enjoy a carefree and fulfilled existence. As in a picturesque garden, Gessner’s idyllic scenes, like those of his contemporaries, were frequently embellished with sarcophagi, small temples and other monuments. The events depicted are those of a bygone Golden Age, featuring either mythological figures or shepherds with their flocks. Unlike his poems and etchings, Gessner’s gouaches became well-known only after his death in 1788. In 1811, the philologist and engraver Carl Wilhelm Kolbe (1759– Fig. 1. Carl Wilhelm Kolbe, Et in Arcadia ego (1801), etching, 40.9 x 52.7 cm, Charles Booth-Clibborn 1835) issued a suite of prints reproducing collection, London (Contemporary Editions Ltd, London). 25 of Gessner’s landscapes, a project on which he worked for six years. he idealized land of Arcadia, referred as well as political modernization. The Kolbe himself took an intense inter- T to in art and literature since ruling classes in general could not really est in Arcadian idylls, most famously antiquity, held a special place in the take offense at such images since they in his 28 etched Kräuterblätter (foliage imaginations of artists and writers in too saw Arcadia as the embodiment of a sheets). While he may have been inspired German-speaking countries around longed-for freedom and informality. The by Gessner’s vignettes set in reedy 1800. By the time Johann Wolfgang bucolic pastimes so diligently pursued by marshland, these etchings were largely Goethe (1749–1832) addressed the subject members of the nobility under the old based on his own study of marsh plants in Faust (published in two parts in 1808 order served as diversions from the con- along the banks of the Rivers Mulde and and 1832), there was already an esteemed straints of court etiquette; they were also Elbe near Dessau, where he lived. Kolbe’s tradition of Arcadian landscape in the the expression of a sentimental yearning Kräuterblätter are distinguished above manner of painters such as Nicolas Pous- for a natural, simple life.2 all by their bizarre proportions: the vast sin (1594–1665) and Claude Lorrain (1600– From the mid-18th century in Ger- leaves tower over the staffage figures in 1682), but to German artists of the period man-speaking lands, the concept of Arca- a surreal “micromegalic” relationship Arcadia presented the opportunity for dia was closely associated with that of the that is decidedly protomodern.4 Death oblique social and political commentary. idyll, a literary expression of a simple rus- is also present, not least as the assumed Arcadia, where inhabitants lived freely tic or pastoral scene conjuring a mood of speaker of the phrase, “Et in Arcadia ego” and harmoniously in a land of unspoiled peaceful contentment. The 53 Idylls pub- (Even in Arcadia, there am I), inscribed natural bounty, provided an obvious lished by Zurich-born Salomon Gessner on the sarcophagus in Kolbe’s famous counterpoint to the authoritarian struc- (1730–1788) between 1756 and 1772 were 1801 etching, Auch ich war in Arkadien. tures that still prevailed in German states poems translated into many languages A pair of almost nude lovers studies the under the Holy Roman Empire. The very and gained the author renown through- sarcophagus within a setting of extrava- concept pointed to the gradual under- out Europe. Gessner, who held impor- gant foliage (Fig. 1).5 The strange vegeta- mining of the old regime by the Napole- tant political offices in his native city of tion incorporates a less obvious erotic onic conquests of the early 19th century Zurich, wrote in the preface to his 1756 element, reflecting the idea that Eros and the stirrings of German nationalism Idylls that he was living in a time when is ultimately the driving force behind

Art in Print January – February 2015 23 ulations. At the same time, the sarcophagi and urns Kolbe includes in his images must be read as warnings of transience and death, introducing a darkness and ambiguity into these bucolic territories. The country in which reality most closely approached the Arcadian dream (at least in the estimation of Germans and other northern Europeans) was Italy. Goethe used “Et in Arcadia ego” as the motto for the first edition of his two- volume Italienische Reise (Italian Jour- ney, 1816–17),8 and the phrase became extremely popular. It already had a long- established history. It might have derived from a line describing Daphnis’s funeral in Virgil’s Fifth Eclogue, “Daphnis ego in silvis” (Daphnis was I amid the woods), and is thought to have appeared for the first time in an artwork as the title of a painting by Giovanni Francesco Barb- ieri (Il Guercino) from ca. 1618–22.9 Both examples indicate that, as in Kolbe’s etch- Fig. 2. Johann Christian Reinhart, Castella Gandolfo (1792), etching, 27.7 x 37.3 cm, ing with its sarcophagus, the phrase was Kunsthandlung C.G. Boerner, Düsseldorf. often associated with death. Memento mori images with the title suggest the Arcadian events: indeed, the vicissi- Arcadian landscapes may thus be presence of death even in carefree Arca- tudes of love are central to the idylls of understood as serving not only to repre- dia; they might also represent the lament the poets. The soft, fleshy leaves of the sent ideals of political and social freedom of a deceased person for the happy life burdock and the lanceolate leaves of the but also sexual license. For while erotic once lived. In his book, however, Goethe upright reed are intended to symbolize liberties were conceded to the mytho- radically reinterpreted the phrase, using the female and the male respectively. logical characters in idylls of the period, it to recall his time in Italy, a period which The lovers and the sarcophagus stand in human contemporaries were forced to represented for him nothing less than an a dark hollow formed by the plants, both conform to rigid social and religious reg- Arcadian idyll. It was a sentiment shared a love grotto and a sepulchral cave. The sexuality of plant forms was a subject of investigation in Kolbe’s day; its boldest researcher was Carl Linneaus (known after his ennoblement as Carl von Linné, 1707–1778), the Swedish bota- nist, physician and zoologist who drew parallels between the eroticism of plants and the erotic lives of human beings. (He once compared the pollination of a blos- som to a woman welcoming 20 men into her bed, one of many such observations that earned him considerable scholarly disapprobation.6) Kolbe described his own relationship with the plant world in words suffused with eroticism. In a 1795 letter to his friend Friedrich Bolt, for example, the artist described sojourns in nature, where “sweet shrubs … crowd around me on all sides … lasciviously stretching their arms out to me as if they wished to embrace me, wrap themselves around me and caress me.”7 (A psycho- logical interpretation of the etchings of Kolbe, who remained a bachelor all his life, might well detect sublimation in Fig. 3. Johann Christian Reinhart, Landscape with Pan (1802), etching, 27.8 x 35.7 cm, this kind of talk.) Philadelphia Museum of Art.

24 Art in Print January – February 2015 Fig. 4. Georg Heinrich Busse after Joseph Anton Koch, Apoll among the Shepherds (1837), etching and drypoint, 32 x 45.6 cm, Philadelphia Museum of Art. by German poets such as Johann Gott- (1745–1808), Rheinhart produced his to Arcadia, but Reinhart sometimes fused fried Herder (1744–1803), who employed Collection ou suite de vues pittoresques de the two. His Landschaft mit Pan (Land- the phrase in 1789 after his own travels l’Italie, a series of 72 etchings showing scape with Pan, 1802),12 for example, in Italy in the poem Angedenken an Nea- picturesque views of Italy with Arcadian shows a rocky terrain but with numerous pel (In Remembrance of Naples),10 as well elements, among them his view of Cas- trees and plants in the foreground sug- as by numerous artists. They consid- tel Gandolfo (Fig. 2).11 The view extends gesting a locus amoenus, thereby preserv- ered certain Italian vistas, most notably from a pathway in the foreground called ing the central feature of the Arcadian those around Rome and Naples, to be the galleria superiore and across Lake idyll (Fig. 3). The lonely Pan, a familiar the embodiment of the landscapes of the Albano to the Pope’s summer residence figure in Arcadia, sits next to a stream; idylls, places distinguished by their spe- behind the Church of San Tommaso da he is protected by the large surround- cial beauty and long history. The result- Villanova. The massive group of trees in ing boulders and uses reeds to form the ing images, while frequently produced the left foreground, dominating the pic- pipes that will bear his name. Beneath on the basis of direct observation, were, ture, constitutes a locus amoenus in which the picture Reinhart has inserted a verse paradoxically, understood as depictions two herdsmen look after their goats. from Virgil’s Second Eclogue: “Pan primus of idealized Arcadian realms. They are not dressed as typical herdsmen Calamos cera conjungere plures/Edo- The work of Johann Christian Rein- of the time, but wear generic antique- cuit” (Pan first with wax taught reed with hart (1761–1847), who lived in Rome after style clothing; they are placed both in reed to join). Virgil’s Eclogues, or Bucolics, 1789, is a good example of this tendency. 18th-century Italy and in ancient, ideal is a compilation of ten pastoral poems In his etchings of landscapes in the Papal Arcadia. modeled on the Idylls of Theocritus. In States he depicted what he saw but none- In Rome Reinhart became one of both works, singing shepherds recite the theless aspired to represent a picturesque the foremost representatives of a heroic story, but while Theocritus described an ideal, choosing only places famous for approach to landscape—dramatic vistas, erotic turbulence disturbing the idyllic historical events or mentioned in litera- barren and unfriendly, featuring rough, landscape, Virgil referenced the politi- ture. Between 1792 and 1798, together rocky, mountainous terrain, across which cal turmoil of his own time. Reinhart’s with fellow artists Albert Christoph Dies storms frequently sweep. Heroic land- Landschaft mit Pan might similarly be (1755–1822) and Jakob Wilhelm Mechau scapes are generally opposite in character understood as a response to the politi-

Art in Print January – February 2015 25 Left: Fig. 5. Johann Heinrich Lips, The Midday from the series The Times of the Day (1805), etching and aquatint, printed in sepia, image 20.4 x 26.4 cm. Charles Booth-Clibborn collection, London (Contemporary Editions Ltd, London). Right: Fig. 6. Johann Heinrich Lips, The Evening from the series The Times of the Day (1805), etching and aquatint, printed in sepia, image 20.9 x 26.4 cm. Charles Booth-Clibborn collection, London (Contemporary Editions Ltd, London). cal situation of his day. In 1798, French essential subject of such scenes was the On 5 April 1806, Lips sent copies of Der troops had occupied Rome in the wake role of music, and in a more general sense Morgen (Morning) and Der Mittag to the of the French Revolution and proclaimed art, in educating and ennobling ordinary art dealer Johann Friedrich Frauenholz in a republic. The 81-year-old Pope Pius people. Gottlieb Schick13 took up this Nuremberg, writing: VI was removed to France and died in popular topic in German classicism in a While the prospects for the art trade in Valence in 1799. It was not until July 1800 large painting that he worked on between Germany and elsewhere are currently that Pius VII, who had been elected in 1806 and 1808, as did Joseph Anton Koch poor and, as a result of the political Venice, was able to move to Rome. Ten- in his painting of 1833–34.14 This latter rebirth of Europe, business is limited sions with Napoleon continued, however, work was reproduced as a print by Georg and has often been forced to a stand- resulting in the renewed occupation of Busse in 1837 and subsequently became still—a situation of which the artist the Papal States by French troops in 1808. very well-known (Fig. 4).15 himself has sufficient evidence and In May 1809 a decree was issued uniting In 1805, Johann Heinrich Lips (1758– from whose effects he suffers—I would them with the French Empire. Only after 1817) presented a complete aquatint cycle nevertheless warmly recommend these Napoleon’s final defeat were the Papal on the four Tageszeiten (Times of the Day) few modest works of mine in the hope States restored to independence. incorporating Arcadian themes, which that you can sell them to some of the Under these conditions, tourism may also have been intended to provide thousand collectors with all their declined radically and many artists pleasurable escapism in a time of politi- many and varied tastes.18 left Rome, no longer able to make a liv- cal upheaval.16 Though Der Abend (Eve- ing selling souvenir art or working on ning, 1793) was a success, it took him 12 Lips’s mention of “political rebirth” is a commission for the Roman nobility or years to complete the project (Figs. 5–7).17 reference to the military efforts of the the Church. Dies departed in 1797 and Der Abend and Die Nacht (Night, 1799) German states to shake off the Napo- Mechau followed a year later. Reinhart, both show broad views of landscapes leonic yoke. In April 1806, four months however, remained in Rome, undeterred. from inside a house or bower. While in had passed since the Battle of Austerlitz His figure of Pan might therefore be seen Der Abend the shepherd and shepherdess and Napoleon’s military success over as a symbol of the lonely artist in an inhos- are shown sitting on either side of the Prussia and Austria. Lips offered these pitable environment. And yet the desolate window, in Die Nacht they have moved prints to Frauenholz nonetheless, pre- surroundings are a source of inspiration to the center of the image, where they sumably believing that such Arcadian for Pan; in his seclusion he creates a new embrace tenderly in an atmosphere of idylls might present an appealing dis- instrument and plays hitherto unheard innocence and peace. Der Mittag (Noon) traction to collectors. music. Indeed, according to mythology, it shows a view onto a landscape from a In the third act of Faust, II, Goethe is Pan who first taught shepherds to play cave, in which a resting shepherd has just expressly calls for the kind of freedom the flute. A comparable didactic concept finished playing a piece of music on his that was being fought for during the underlies the theme of Apollo among the flute and is rewarded by a shepherdess Napoleonic Wars—a freedom repre- Shepherds, one frequently represented with a garland. It is an exemplary illus- sented in its ideal form by Arcadia. This by German artists of this period. Lyre in tration of a moment of leisure and vita second part of the tragedy appeared hand, Apollo appears to the shepherds in contemplativa. Typically for the genre, shortly after Goethe’s death in 1832, at a an Arcadian landscape hoping to provide the hard reality of the shepherds’ daily time when political repression again pre- them with an appreciation of beauty. The toil is entirely ignored. vailed in the German states, a situation

26 Art in Print January – February 2015 ed. Johann Georg Müller (Stuttgart/Tübingen, 1836), 319. 11. Andreas Andresen, Die deutschen Maler- Radirer (Peintre-Graveurs) des neunzehnten Jahr- hunderts nach ihren Leben und Werken, vol. 1 (Leipzig: Rudolf Weigel Verlag, 1866), no. 52; F. Carlo Schmid, Peter Betthausen and Ulrike Mills, Spaziergänge in Italien (Frankfurt/Main: Fichter Edition, 1994), 32, no. 2. 12. Andresen 1866, no. 101; F. Carlo Schmid, Naturansichten und Ideallandschaften. Die Land- schaftsgraphik von Johann Christian Reinhart und seinem Umkreis (Berlin: Mann, 1998), 303. 13. Helmut Börsch-Supan, Die deutsche Malerei von Anton Graff bis Hans von Marées 1760–1870 (Munich: C.H. Beck, 1988), 184–186. 14. Otto R. von Lutterotti, Joseph Anton Koch (1768–1839): Leben und Werk mit einem voll- ständigen Werkverzeichnis (Vienna/Munich: He- rold Verlag, 1985), 304, no. 89. Koch is believed to have made seven paintings on the theme. 15. Andreas Andresen, Die deutschen Maler- Radirer (Peintre-Graveurs) des neunzehnten Jahr- hunderts nach ihren Leben und Werken, vol. 3 (Leipzig, 1869), no. 21. 16. Giulia Bartrum et al., eds., Wahlver- wandtschaften: Eine englische Privatsammlung zur Kunst der Goethezeit, exh. cat. (London: Contemporary Editions Ltd., 2013), 97–107. Fig. 7. Johann Heinrich Lips, The Night from the series The Times of the Day (1805), etching and Cf. Joachim Kruse, ed., Johann Heinrich Lips aquatint, printed in sepia, image 20.2 x 25.9 cm. Charles Booth-Clibborn collection, London 1758–1817: Ein Zürcher Kupferstecher zwischen (Contemporary Editions Ltd, London). Lavater und Goethe, exh. cat. (Coburg: Kunst- sammlungen der Veste Coburg, 1989), 231–235. that victory over Napoleon in 1815 had Städten den Überfluß liefern muß, und Unter- 17.The Journal des Luxus und der Moden, pub- ultimately done little to dispel. In this drückung und Armuth ihn ungesittet und schlau lished in Weimar, said of Der Abend in its April und niederträchtig gemacht haben.” Salomon edition of 1793: “This delightful work marks the context, Faust’s words to Helen were both start of Mr. Lips’ series depicting the four times of contingent and electrifying: “Our joy be Gessner, Idyllen, rev. ed. (Zurich, 1756; repr., Stuttgart: Reclam, 1988), 16. the day in Arcadian pastoral scenes.” Quoted in 19 Arcadian, and free!” For Faust and 4. The term “micromegalic” is coined after the Kruse, Lips, 231. Helen, this joy lasts only as long as their name of the extraterrestrial giant, Micromégas, for 18. “So sehr nun gegenwärtig der Kunsthandel love flourishes and their son is alive. After whom everything on the earth is small, described in Deutschland und überall schlechte Aussichten hat, und die Geschäfte, vermöge der pollitischen their son’s early and reckless death, Helen in Voltaire’s eponymous 1752 novel. Wiedergeburth von Europa beschränkt sind, ja and the Arcadian world in which this 5. Ulf Martens, Der Zeichner und Radierer Carl Wilhelm Kolbe d. Ä. [1759–1835] (Berlin: Mann, oft gar stille stehen müßen, wovon der Künstler scene plays vanish. In Goethe’s play, Arca- 1976), 87, no. 96. selbst auch genug Beweise hat, und den Nach- dia had only brief tenure as a fantasy 6. Agnes Thum, “Die ‘Kräutersprache’: Kolbes theil empfindet, so möchte ich doch Ihnen jeder realm; but as an optimistic vision of Kräuterblätter und ihre Bedeutungsebenen,” in Zeit meine wenigen, wenn schon nicht sehr wich- political and social freedom its power and Carl Wilhelm Kolbe d. Ä. (1759–1835): Künstler, tigen, Artikel bestens empfehlen, wenn Sie solche unter den 1000 Liebhabern, die von ebenso man- potential is boundless. Philologe, Patriot, ed. Norbert Michels, exh. cat. (Petersberg: Imhof, 2009), 134f. Thum first pro- nigfaltigem Geschmack sind, anbringen können.” vided a detailed explanation of the erotic dimen- Quoted in Kruse, Lips, 232. I would like to express my thanks to Dan- sion in Kolbe’s Kräuterblätter in her master’s 19. Johann Wolfgang Goethe, Faust, II, verse iel Godfrey, John Ittmann, Andrea Lan- thesis. See Agnes Thum, Die Kräuterblätter Carl 9573. genberger and Jacqueline van Rhyn for all Wilhelm Kolbes d. Ä. “Sieh, es kehrt auf Wörlitz- their help in obtaining the illustrations ens Fluren Arcadia zurück!” (Saarbrücken: Verlag for this article. —FCS Dr. Müller, 2008). 7. “jedes liebliche Gesträuch … von allen Seiten mich umdrängt, … wollüstig die Arme gegen mich ausstreckt, als wolle es mich umfassen, und sich F. Carlo Schmid is an art historian and director of um mich schlingen und mich liebkosen.” Carl Wil- C.G. Boerner in Düsseldorf. helm Kolbe to Friedrich Bolt, [no day mentioned] November 1795, quoted in Wilhelm Dorow, ed., Denkschriften und Briefe zur Charakteristik der Notes: Welt und Litteratur, vol. 1 (Berlin, 1838), 163. 1. “Arkadisch frei sey unser Glück!” Johann Wolf- 8. A third volume, Zweiter Römischer Aufenthalt gang Goethe, Faust, II, verse 9573. [Second Roman Sojourn], completed the work in 2. An introduction to the subject can be found in 1829. Petra Maisak, Arkadien. Genese und Typologie 9. Sybille Ebert-Schifferer, ed., Giovanni Fran- einer idyllischen Wunschwelt (Frankfurt/Main: cesco Barbieri, Il Guercino, exh. cat. (Bologna: Peter Lang Verlag, 1981). Nuova Alfa Editoriale, 1991), 156–60, no. 17. 3. “unsre Zeiten … wo der Landmann mit sau- 10. Johann Gottfried Herder, “Angedenken an rer Arbeit unterthänig seinem Fürsten und den Neapel,” in Johann Gottfried v. Herder’s Gedichte,

Art in Print January – February 2015 27 Underground to Arcadia: London Transport Posters 1908–1914 By Elaine Mehalakes

Alfred France, Hermes for speed, Eros for pleasure (1912), poster, 63.5 x 101.6 cm. Printed by Johnson, Riddle & Company Ltd, London. Published by Underground Electric Railways Company Ltd, London. ©TfL from the London Transport Museum collection.

n 1908, the six-year-old Underground Sidney Thomas Charles Weeks, John least 108 of these designs.4 His composi- I Electric Railways of London, later Henry Lloyd and, most notably, Charles tions employ a variety of pictorial styles, known as London Transport,1 began Sharland promoted a vision of the Under- approaches to the balance of text and a pictorial poster campaign under the ground as a path to the Arcadia along the image, and to the graphic heft of borders direction of Frank Pick (1874–1941).2 Pre- Thames and at the edges of the city. and fonts. They also offer a guide to ways viously, the Underground’s posters had The Arcadian ideal of pastoral har- in which visions of Arcadian bliss figured been text-only and purely informational. mony with nature evoked by Virgil in his in the lives of ordinary Londoners. Pick sought not only to increase rider- Eclogues had profoundly influenced the One of his earliest posters, Valley of ship, but also to create a visual identity English aristocracy and its approach to the Thames (1908), offers a porthole view for the Underground and to improve the landscape, especially in the 18th century. onto an idyllic river where people row aesthetic experience of its customers. In the early 20th century, this ideal was and sail beneath bright tumbling clouds. While it had been standard practice to popularized and attached to rural and Above the porthole hangs the distinctive commission poster designs from print- suburban areas around London through “Underground” logo, with its large initial ing firms that employed commercial posters. Displayed at stations, on buses, U and terminal D, which has been cred- artists, Pick also selected and hired art- trams and inside train cars, these images ited to Pick and came into use that year. ists directly, some well-known and some reached broad audiences, spreading and Inside the porthole the scene is identi- untested, initiating the Underground’s renewing the Arcadian ideal. fied as “Richmond from the River.” The long and storied history as a patron of Sharland, who worked for the pri- stretch of river in which Richmond sits is the arts.3 In the years before the start of mary printer of Underground posters, sometimes called “the Arcadian Thames,” World War I, artists such as Arthur Blunt, Waterlow & Sons, was responsible for at because of both its natural beauty and the

28 Art in Print January – February 2015 number of wealthy landowners who cul- the Underground logo is recast in spring Twickenham to Hampton Court. tivated picturesque landscapes along its green. The image becomes increasingly Like travel posters of distant and desir- meandering course. flattened and abstract in the distance, able destinations, Underground advertis- The Royal Botanic Gardens at Kew are adopting something of the graphic dyna- ing enticed people to visit, or even move located at the nearer end of this stretch mism of fin de siècle French posters, to, formerly rural areas and villages that for most London residents, and Kew has which was daring in comparison with were quickly becoming suburban, thanks been the subject of more than 100 London much concurrent British poster design. to the expansion of the Underground Transport posters. In a Sharland poster Yet another poster of Kew, this one lines. With images of tranquil, sunny

Left: Charles Sharland, Valley of the Thames (1908), poster, 101.6 x 63.5 cm. Printed by Johnson, Riddle & Company Ltd, London. Published by Underground Electric Railways Company Ltd, London. ©TfL from the London Transport Museum collection. Right: Sidney Thomas Charles Weeks, Kew, by tram from Shepherd’s Bush; daisy walk (1913), poster, 101.6 x 63.5 cm. Printed by Avenue Press Ltd, London. Published by Underground Electric Railways Company Ltd, London. ©TfL from the London Transport Museum collection. from 1910 people stroll among bright made by Arthur Blunt in 1912, imposes landscapes with rolling hills and mature flowerbeds in dappled sunlight, enjoying a lyrical, pseudo-Japanese flavor on this trees, often accompanied by snippets of nature. While some posters specified a most English of landscapes: beneath a flat poetry, the Underground helped pro- particular transit line or the station from gold sky, a weeping willow bends over a mote new housing developments such as which one should alight, this one bears pair of herons and the neoclassical Tem- Hampstead Garden Suburb and Golders only two words: “Kew Gardens.” ple of the Sun, one of several garden fol- Green in North London. A 1910 poster by Sidney Thomas Charles Weeks’ Kew, lies built by Sir William Chambers when Sharland shows a blue sky with benign by Tram from Shepherd’s Bush; daisy walk Kew was the property of Augusta, Dowa- clouds, lush countryside framed by trees (1913) invites the viewer onto a carpet of ger Princess of Wales.5 The poster, which and a distant pool of water reflecting the flowers where remote figures in white carries no text, is one of five panels that rhythmic arches of the Hampstead Heath harmonize with their surroundings; even form a montage of vistas stretching from Viaduct Bridge. Like the sheep scattered

Art in Print January – February 2015 29 posters employ a gentle, painterly pictorial mode, those he designed in the teens for suburbs reachable by bus are more boldly graphic in style. Burnham Beeches (1912) makes daring use of a unified yet unrealistic color scheme of orange and rust in its dramatically cropped image of massive tree trunks. In Sidcup (1913), a black key block starkly outlines trees and a pond above a blocky, white text legible from afar. While many posters depicted specific and beloved landmarks like the follies at Kew or the viaduct bridge on Hampstead Heath, others offered a more generic— and reassignable—countryside. A 1910 poster by Alfred France shows a cherubic little girl in a white frock, placed like a cut-out doll against a bucolic backdrop. It exists in at least two versions: I Came by Underground to Sudbury and I Came by Underground to Golders Green. The fact that destinations could be easily exchanged points to the idealization of the places depicted. In another of France’s posters, Hermes for Speed, Eros for Pleasure (1912),6 no particular destination is specified; instead an equation is made between greater London and ancient Greece, as the gods take target practice on a verdant hill with the metropolis gleaming in the distance. The text, which runs as a border around the image, correlates seven Olympian deities with aspects of the public transport system— Pan, traditionally the god of Arcadia, of course stands “for the Countryside,” but “all find their highest aim in the Under- ground.” The round Underground logo is the target of Eros’ arrows. Sharland also took the classicism implicit in such vistas as the basis for explicit references to Clas- sical Greece. Easter 1914 pictures a Greco- London idyll in which daffodils bloom near a budding tree; Pan plays his reed pipe, a lamb frolics, and birds and rabbits appear to listen as a crowd of people run toward them from an unidentified Under- Charles Sharland, Season ticket rates between Middlesex and West End (1912), poster, 101.6 x ground station. Across the grass glide two 63.5 cm. Printed by Waterlow & Sons Ltd, London. Published by Underground Electric Railways stanzas from William Morris’ 1883 poem, Company Ltd, London. ©TfL from the London Transport Museum collection. “The Message of the March Wind,” which speaks of “The green-growing acres with over the grass, the bridge evokes a world and West End (1912) and Underground map; increase begun,” and describes the joy of of contented shepherds and classical western suburbs (1912)—supplement car- spring in the country: repose. Its text, “Book to Hampstead or tography with patchworks of green hills, Now sweet, sweet it is through the Golders Green for the Bracing Northern open spaces and meandering streams. land to be straying Uplands,” suggests the benefits to health They also provided practical information ’Mid the birds and the blossoms and of open space, greenery and fresh air. about water, gas and electricity rates, sug- beasts of the field. The maps designed by Sharland—The gesting one goal was to encourage view- District Served by Golders Green Station ers to relocate. In less than four months, all of Western (1912), Season ticket rates between Middlesex While many of Sharland’s early transit Europe would be at war and Underground

30 Art in Print January – February 2015 Press, 2010), 25, and “London Transport Museum Artist Details, Artist-Charles Sharland,” accessed 16 Sept 2014, http://www.ltmcollection.org/posters/artist/artist.html?IXartist=Charles+Sharland. Sharland created posters for the Underground from 1908–1922, but not much is known about his life or career. See also “Printer information,” accessed 19 Sept 2014, http://www.ltmcollection. org/posters/results/results.html?IXsearchprinter= Waterlow+%26+Sons+Ltd 5. The Temple of the Sun was destroyed when a tree fell on it in 1916. 6. France designed posters for the Underground from 1909–1912. “London Transport Museum Art- ist Details, Artist—Alfred France,” accessed 23 Sept 2014, http://www.ltmcollection.org/posters/ artist/artist.html?IXartist=Alfred+France

Left: Charles Sharland, Burnham Beaches (1912), poster, 76.2 x 50.8 cm. Printed by Waterlow & Sons Ltd, London. Published by Underground Electric Railways Company Ltd, London. ©TfL from the London Transport Museum collection. Right: John Henry Lloyd, Too much of a good thing (1910), poster, 101.6 x 63.5 cm. Printed by Johnson, Riddle & Company Ltd, London. Published by Under- ground Electric Railways Company Ltd, London. ©TfL from the London Transport Museum collection. posters would serve British military Whether the son won this battle or the recruitment and propagandistic morale- daughter, whether tickets were purchased boosting efforts. Idyllic posters of Kew to Hampstead or Richmond, the message Gardens and London suburbs also con- of transit posters to Londoners was clear: tinued to be produced until fuel short- Arcadia is elsewhere, but it’s not far… and ages discouraged all unnecessary travel. you can reach it by Underground. The emotional appeal of an English Arca- dia remained strong: in 1916 and 1917, the Underground produced a series of posters Elaine Mehalakes is a curator, writer and the to be sent to soldiers abroad, nostalgically Vice President for Community Engagement at illustrating the English countryside. the Allentown Art Museum of the Lehigh Valley in Pennsylvania. John Henry Lloyd’s 1910 poster Too Much of a Good Thing illustrates the power of these posters in their prime. It Notes: shows a family looking excitedly at a wall 1. The Underground Electric Railways of Lon- of Underground posters advertising the don Ltd (UERL), not only included subways and many places they could go: the daugh- aboveground rail systems but trams and buses. ter points toward Sharland’s Valley of the In 1933, it became known as London Transport. Thames, while the sailor-suited son leans 2. Pick joined the UERL in 1906 as an assistant to the chairman and was put in charge of publicity toward his Book to Perivale, Sudbury or the following year. By 1912 he was commercial Harrow (1909), with its meadow of frol- manager and in 1928 he became managing direc- icking children. In the middle, the father tor. In 1933 he became vice chairman and chief considers London’s Playground; Hamp- executive. stead Heath (1908), while the mother 3. There are several good sources for information stands before Southend and Westcliff-on- about the history of Underground posters, including David Bownes and Oliver Green, London Sea (1908). It is a recursive game—one Transport Posters a Century of Art and Design can imagine a family standing before this (London: Lund Humphries in association with poster, of a family standing before other London Transport Museum, 2008), and Oliver posters, and France gives the girl a white Green, Art for the London Underground (New dress that wittily echoes that of the girl in York: Rizzoli International Publications, 1990). 4. Teri J. Edelstein et al, Art for All: British Posters his own I Came by Underground to Sudbury for Transport (New Haven and London: Yale Cen- beside her. ter for British Art in association with Yale University

Art in Print January – February 2015 31 Marcel Pautot and His Images de Provence By William Cole

Fig. 2. Marcel Pautot, Le Mistral (c. 1951), hand- colored sculpted print, 7.4 x 7.4 cm, from copy C of Images de Provence (Private collection).

smith. Active in Grasse, the great perfumery center in southeastern France, Pautot specialized in decorative objects such as perfume bottles and medals, for which he was frequently commissioned by the French government. In 1950, however, he produced a volume of poetic short stories by Andrhée Duguet-Huguier, Le Pêcheur de lune, with ten diminutive sculpted prints executed in somber colors, each mounted on a sheet of fine wove paper (one is on the cover). It is a modest volume, measuring just 19.3 x 15 cm, and its text is printed with indifferent typogra- phy on mediocre laid paper (acid migrates from the text leaves to the plate leaves, with unfortunate results). According to the book’s limitation statement,4 the edition consisted of 504 copies.5 I confess to Fig. 1. Marcel Pautot, Grasse (ca. 1951), hand-colored sculpted print, 5.9 x 5.9 cm, mounted on the a reluctant appreciation for these prints, front cover of copy A of Images de Provence (Private collection). despite their lugubrious, melodramatic admixture of neoclassicism and Art he 22 sculpted prints of Marcel Pau- casting medals.3 Although Roche’s gyp- Nouveau, unsurprisingly reminiscent of T tot’s Images de Provence (1952) con- sographs still have a following among col- allegorical First World War medals and stitute an unlikely achievement: a com- lectors, and bibliophiles consider La Loïe memorial statuary, as well as of perfume pletely original and utterly charming Fuller (1904)—a book by Roger Marx illus- bottles. depiction of eastern Provence, from the trated with 19 of Roche’s gypsotypes—an Published just two years later, Images hand of a sculptor mainly concerned with estimable prize, few subsequent artists de Provence is quite a leap in character: the medals and perfume bottles. It is one of built on his discovery. (In part this may be 22 sculpted prints in each copy are free four volumes1 in which Pautot revived blamed on the schism between decorative and varied in their rendering.6 While a the peculiar fin-de-siècle medium of the and fine arts: though many 15th-century few of the prints share the allegorical pre- gypsograph.2 engravers were gold- and/or silversmiths, tensions found in Le Pêcheur de lune, most Invented by the sculptor and decora- few printmakers since then have had are topographical: town views, street tive artist Pierre Roche in the 1890s, gyp- much expertise in metalwork.) scenes and buildings, largely in Grasse, sographs are embossed prints made with Like Roche, Pautot (1886–1963) was Cannes, Nice and nearby towns, reflect- techniques that mimic those used for not a printmaker by trade, but a metal- ing the artist’s prejudices and/or his

32 Art in Print January – February 2015 attempt to target the tourist market. All are endowed with vivid colors that renounce the technique’s medallic ori- gins. Furthermore, producing the book himself in a painstaking yet somewhat haphazard (some might say amateurish) manner, Pautot managed to make every copy of this modest publication unique. In some copies, for example, a bifolium (i.e., two attached leaves) of laid paper (similar to that used for the printed text) has been inserted into the last quire (variant 1), and the final print is mounted here.7 And in some copies an additional bifolium has been inserted between pp. [20] and [21] (variant 2). These leaves fea- Left: Fig. 5. Marcel Pautot, Oratoire (ca. 1951), hand-colored sculpted print, 7 x 7 cm, from copy A of Images ture a text by Michel Puisaye, entitled de Provence (Private collection). Right: Fig. 6. Marcel Pautot, Oratoire (ca. 1951), hand-colored sculpted “Notre-Dame-de-Valcluse” and dated April, print heightened with gold dust, 7 x 7 cm, from copy C of Images de Provence (Private collection). 1952. This text is printed in blue. The most important differences, how- allegorical rather than representational, states that 550 copies of the book were ever, have to do with the prints them- and each copy has four or five of these. printed. Assuming Pautot completed all selves. I have seen a half-dozen copies of The evidence permits us to recon- of them, he would have needed to create a the book, none of which have contained struct the history of the book as fol- total of 12,100 hand-colored impressions. exactly the same set of prints. Each copy lows: Pautot published it himself, as he He must have produced copies in batches has one print on the cover and 21 prints had surely published Le Pêcheur de lune and certainly required months, if not inside, but no two have exactly the same two years earlier. He had a job printer in years, to finish the job. Thus the number- ones. The prints on the cover vary from Grasse, Le Mail, print the text in late 1951 ing of the copies likely corresponds to the copy to copy, and never appear on inside or early 1952.10 Pautot, perhaps with the order in which they were completed.11 At pages, so there is no way to determine help of an assistant, would have taken some point, probably in mid-1952, Pautot their titles. Finally, the coloring of each on the task of printing, coloring, mount- had Le Mail print an additional bifolium print varies wildly from one impression ing and titling the prints to complete the (variant 2) with the text entitled “Notre- to another.8 For the purposes of this book. Assembling each copy—sewing it Dame-de-Valcluse,” which he inserted study I have brought together four copies together and gluing it into the wraps— into copies not yet completed. In those of the book, which I refer to as A, B, C and could not have been done by the printer copies he included print no. 6, of the same D, in what I suspect is the order in which unless Pautot took each copy back after subject (which had likely been created to they were completed. inserting the prints. This control over the accompany the new text: it is the only Though any one copy contains 21 final assembly explains his ability to add print that focuses on an object).12 prints, together the four copies include a additional leaves (variants 1 and 2). The prints themselves, of course, con- total of 25 different prints:9 17 are shared While the artist clearly felt that many stitute the primary interest of the book. by all four copies, three by three copies, of the prints belonged in every copy of In the 19th century, Roche seems to have two by two copies, and three appear in a the book, he showed a certain flexibil- considered coloring secondary, using it just a single copy. Six of the 25 prints are ity when selecting others. The colophon merely to accentuate the three-dimensionality of his work. Pautot, however, used it to break with the conventions of medallic art. He put relief and color on equal footing, allowing them to comple- ment each other. We find an example of that balance in Le Mistral (no. 21, Fig. 2): the ghostly horse symbolizes the famous dry, cold wind of the title, adding drama without detracting from the landscape. Were the horse colored differently from the sky, it would dominate the picture through sheer incongruousness, becoming spectacle rather than specter. Pautot must have delighted in experi- mentation. Among the most beautiful of his prints is Antibes (no. 5). By comparing Fig. 3. Left: Marcel Pautot, Antibes (ca. 1951), hand-colored sculpted print, 7 x 7.2 cm, from copy A the impressions in copy A (Fig. 3) and copy of Images de Provence (Private collection). Right: Fig. 4. Marcel Pautot, Antibes (ca. 1951), hand- B (Fig. 4), we can see how radically the colored sculpted print heightened with gold dust, 7.4 x 7.2 cm, from copy B of Images de Provence (Private collection). coloring varies from one impression to

Art in Print January – February 2015 33 pierre de sentenac. anne d’eugny. / andrét duguet-huguier. madeleine / luce. bernard barbery. michel puysaye [sic, for “Puisaye”] / illlustrations [sic, for third “l”] de marcel pautot This book is so similar to its predeces- sor that even with “cannes grasse” in large red letters on the cover (Fig. 17), it is easily confused with the earlier volume. Unfortunately, the later book is printed on inferior paper (though not as bad as that used for Le Pêcheur de lune). As one might surmise from the two mistakes on the title page, the text was printed even Left: Fig. 7. Marcel Pautot, Cannes (ca. 1951), hand-colored sculpted print, 7.2 x 7 cm, from copy A of Images de Provence (Private collection). Right: Fig. 8. Marcel Pautot, Cannes (ca. 1951), hand- more poorly than his earlier books by Le colored sculpted print, 7.3 x 7 cm, from copy D of Images de Provence (Private collection). Mail. The new book includes 18 mounted, hand-colored, sculpted prints (including one on the front cover); three of another. In copies B, C and D, moreover, Provence I cannot help but be struck by these had appeared in the previous book the artist heightens this dreamy land- his infallible sense of where to put the (nos. 12 and 14, and the view of Grasse on scape with gold dust,13 making it shim- viewer. This astonishes me all the more the cover of copy A). Altogether we have mer.14 Different impressions of Oratoire when I consider that the artist’s back- found a corpus of 43 sculpted prints by (no. 20) reflect the artist’s determination ground was in metalwork, a field not Pautot devoted to Provence. to find just the right mood. We find con- overly concerned with such matters. As the title page indicates, this sec- trasting colors in copy A (Fig. 5); we find Through his careful coordination of ond volume focuses even more intently similar colors—and again a delicate touch composition, relief and coloring, he time on Cannes and Grasse. The prints are of gold dust—in copy B (Fig. 6). Pautot and again places us right in the midst of similarly charming and inventive, but declined to identify the chapel depicted, his idealized Provence: an unfailingly represent no radical departure as his Pautot suggesting he saw the volume as beautiful and peaceful place, where civi- previous volume did. This book was also more than a mere souvenir. lization and nature are one and where most likely directed at the tourist mar- The color differences in such prints as every moment of the day is bathed in its ket, and both volumes are now far scarcer Cannes (no. 8, Figs. 7 and 8) and Campa- own special light. than they would be had the original pur- nile (no. 19, Figs. 9 and 10) evoke different Images de Provence must have proved chasers been bibliophiles. For the same times of day, and/or different seasons. a success—Pautot published a similar reason, they are found in virtually no Perhaps the artist colored according to book a few years later,15 with a title institutional collections. his mood. The most interesting print in destined to provoke bibliographical Near the beginning of an article on terms of color variation is Grasse (no. 3, confusion: Pierre Roche, Elizabeth Prelinger con- Figs. 11–14). The dramatic variety of the images / de / provence / cannes cedes that the gypsograph is “admittedly four impressions reveals Pautot’s restless- grasse / textes de / paul reboux. an oddity.”16 I agree—and without such ness and his desire to test the interplay of marguerite burnat- / provins. beautiful and intriguing oddities, how color and relief. pierre rochet. cécile périne. / interesting would it be to study prints? I want to cast a final glance at the two prints that best demonstrate Pau- tot’s mastery of three-dimensionality. In Eglogue (no. 17, Fig. 15), an allegorical print appearing only in copy A, he heightens the sculpted depth of the image with the color scheme: earth tones in the foreground, then blues, then greens in the distance. The image is full of detail, yet uncluttered. Even the conceit of the lyre-tree seems unforced. In Nice (no. 11, Fig. 16) the artist balances foreground and background by adding color in the distance. The gulls are neither there to focus on nor to look past: they are simply part of the scene, no more or less important than the city beyond. Perhaps we are meant to be one Left: Fig. 9. Marcel Pautot, Campanile (ca. 1951), hand-colored sculpted print, 7.3 x 7.2 cm, from copy of them. A of Images de Provence (Private collection). Right: Fig. 10. Marcel Pautot, Campanile (ca. 1951), As I look over Pautot’s depictions of hand-colored sculpted print, 7.4 x 7.3 cm, from copy C of Images de Provence (Private collection).

34 Art in Print January – February 2015 problems—the exception being a slight darkening of an added bifolium (variant 1) of copy D. 8. Since the prints were trimmed (usually within the platemark) before being mounted, the mea- surements of two impressions of the same print can vary slightly. 9. A grand total of 28, if we include the prints used for the covers. 10. Le Mail is identified on p. [4]. 11. Such a cumbersome, painstaking process will strike students of 20th-century book production as highly unusual; but then, few modern artists and publishers have created books requiring highly detailed hand coloring without the use of the pochoir technique. We should instead com- pare the production of this book to that of the English Regency color-plate books of the early 19th century. I will not delve into the details here, but suffice it to say that with the exception of subscribers’ copies, publishers generally had the plates colored over the course of months or years after the initial publication date, doing their best to avoid laying out considerable sums of money on copies that would later fail to sell. Blake, creating his wonderful illuminated books during the same period, usually colored a copy only when he had a firm order for it. 12. I have not found a convincing explanation for variant 1, so I pass over it here. 13. Pautot worked gold, among other metals, and thus doubtless had gold dust in his studio. 14. I take the absence of gold dust from copy A as one of the indications it was made earlier. 15. I assume this book was printed about two years after the original Images de Provence, but I have been unable to date it precisely. We can be sure, however, that this is the later of the books, Clockwise from top left: Fig. 11. Marcel Pautot, Grasse (ca. 1951), hand-colored sculpted print, 7.5 x as the verso of the title page mentions Préludes, 7.3 cm, from copy A of Images de Provence (Private collection). Fig. 12. Marcel Pautot, Grasse (ca. Le Pêcheur de lune, and Images de Provence 1951), hand-colored sculpted print, 7.6 x 7.3 cm, from copy B of Images de Provence (Private collec- (here renamed Images de Provence 1er volume). tion). Fig. 13. Marcel Pautot, Grasse (ca. 1951), hand-colored sculpted print, 7.6 x 7.5 cm, from copy C 16. Prelinger, “Pierre Roche,” 138. of Images de Provence(Private collection). Fig. 14. Marcel Pautot, Grasse (ca. 1951), hand-colored sculpted print, 7.5 x 7.4 cm, from copy D of Images de Provence (Private collection). Bibliographic Description Title Page: images / de / provence / textes de / of La Loïe Fuller, all in quarto format and beauti- William Cole is an expert in art and rare book pierre de sentenac, j. pourtal de ladevèze, / francis fully printed in Auriol Italic (perhaps the greatest connoisseurship. His scholarly articles, reviews, de miomandre, françois carnot, bernard barbery, / Art Nouveau font) on fine paper. and notes appear regularly in Print Quarterly and mario-meunier, henri puvis de chavannes, henri ven- 6. The book is undated, possibly because it was other scholarly journals. del, / andrhée duguet-huguier, madeleine luce, paul aimed at the tourist trade and tourists don’t want forestier / illustrations de marcel pautot out-of-date souvenirs. The latest of the dated Physical description: 48 unnumbered pages Notes: texts, however, is marked 14 July 1951, and copy printed on good laid paper, with 21 intercalated 1. The text of Images de Provence mentions two B (see below) bears an autograph inscription from leaves of fine wove paper, each with a small prior books illustrated by Pautot: Le Pêcheur de Pautot dated 3 April 1952. I would suppose the hand-colored sculpted print by Pautot on Regis- lune and Préludes by Madeleine Luce. I have book appeared in early 1952. The prints are so tres Torpes wove paper mounted on the recto, failed to locate any copies of this last work, or radically different in conception and execution each protected by a tissue guard and each but any published references to it, beyond one, unde- from those of Le Pêcheur de lune that I doubt the last titled in ink by the artist on the support scribed copy sold at auction in September 2014. they were created long before the book. In an leaf. Sewn into printed wraps (fine, thick wove The fourth book is Pautot’s second volume of (undated) text included in Images de Provence, paper) with an additional (untitled) hand-colored Provence scenes. “La vraie Provence,” Francis de Miomandre sculpted print by Pautot mounted on the front 2. Roche also used the terms gypsotypies, reveals that he had seen some of Pautot’s cover within a black border. 191 x 160 mm. estampes modelées and estampes sculptées. Provence prints: “Il [Camille Mauclair] m’emmena 3. See Elizabeth Prelinger, “Pierre Roche and donc à Magagnosc, sur la route de Grasse, tout Typographic contents: [1-2] blank leaf; [3] the ‘belle gypsographie,’” Print Quarterly, vol. 10, près de Gourdon, et c’est là que me fut, au cours title (as above); [4] justification (“Il a été tiré 500 no. 2 (June 1993): 138–155. Unlike Roche, Pautot de cinq hivers inoubliables, révélé le charme exemplaires vergé crème, numérotés de 1 à 500, apparently left no documentation concerning the unique et quelque peu ensorcelant de ce coin du et 50 exemplaires numérotés de 1 à 50 avec precise details of his technique. monde que les belles vignettes de Marcel Pautot, esquisse originale en couleurs ayant servi à la 4. The limitation statement, or justification de dans leur précieux relief minéral, me rappellent compositions des vignettes. Exemplaire nº ___”), tirage specifies how many copies were printed soudain, avec une sorte de réalité saisisante.” mention of two other books illustrated by Pau- and usually provides a number specific to each 7. A striking difference between this book and tot, and identification of the printer; [5–6] blank copy. Le Pêcheur de lune is the quality of the paper. leaf; [7–46] various prose and verse texts by the 5. By way of comparison, the bibliophile society The paper used for Images de Provence, while authors mentioned on the title page, following Les Cent Bibliophiles had issued only 130 copies hardly luxurious, does not have any evident acid that order; [47–48] blank leaf.

Art in Print January – February 2015 35 Left to right: Fig. 15. Marcel Pautot, Eglogue (ca. 1951), hand-colored sculpted print, 6.8 x 6.8 cm, from copy A of Images de Provence (Private collection). Fig. 16. Marcel Pautot, Nice (ca. 1951), hand- colored sculpted print, 7.2 x 7 cm, from copy B of Images de Provence (Private collection). Fig. 17. Marcel Pautot, Untitled (ca. 1953(?)), hand-colored sculpted print, 6 x 5.9 cm, mounted on the front cover of Images de Provence: Cannes Grasse (Private collection).

Appendix

This table lists the prints included in each of the four copies studied, not including the print on the cover. The number in the column under each letter refers to the order in which that print appears in that copy; blank spaces indicate the absence of the print. Asterisks denote allegorical prints. Titles are those given by Pautot on the support sheet, with my parenthetical additions to distinguish different prints with the same title and to describe the untitled print (no. 25).

No. Title A B C D 1 La Provence et la Mer* 1 1 - - 2 Gourdon 2 2 6 6 3 Saint Paul 3 6 2 2 4 L’Olivier* 4 4 3 3 5 Antibes 5 (fig. 3) 5 (fig. 4) 4 4 6 Notre Dame de Valcluse - - 5 5 7 Lucéram 6 3 1 1 8 Cannes 7 (fig. 7) 7 7 7 (fig. 8) 9 Musée Fragonard1 8 8 8 8 10 Nice (market) 9 9 9 9 11 Nice (coastline) 10 10 (fig. 16) - 10 12 Cathédrale de Grasse - - 10 - 13 Grasse (town view) 11 (fig. 11) 11 (fig. 12) 11 (fig. 13) 11 (fig. 14) 14 Parfums-Grasse* 12 12 12 - 15 Peillon 12 15 15 15 16 Sospel 13 13 13 13 17 Eglogue* 14 (fig. 15) - - - 18 L’Escarène 15 14 14 14 19 Campanile 16 (fig. 9) 16 16 (fig. 10) 16 20 Oratoire 17 (fig. 5) 17 17 (fig. 6) 17 21 Le Mistral* 18 18 18 (fig. 2) 18 22 Tourrettes s/Loup 19 19 19 19 23 Villefranche 20 20 - 20 24 Grasse (fountain)2 - - 20 - 25 (wings and sun)* 21 21 21 21

1. The museum of perfumery in Grasse. Not to be confused with the anatomical museum of the same name in Paris. 2. An impression of this print in Pautot’s next book (see below) is entitled Grasse, place aux Aires.

36 Art in Print January – February 2015 EXHIBITION REVIEW Master of the Floating World By Laurie Hurwitz

Katsushika Hokusai, Kudan Ushigafuchi (Ushigafuchi at Kudan) (ca.1804-1807), color woodblock print (nishiki-e), 18 × 24.5 cm. Bibliothèque nationale de France, Paris. ©BnF, dist. Rmn-Grand Palais / image BnF.

“Hokusai (1760–1849)” estless, eccentric and obsessive, the block prints, scroll paintings, albums and Grand Palais, Galeries nationales, Paris R Japanese woodblock master Hoku- storybooks.2 Drawn from museums and 1 October 2014 – 18 January 2015 sai (1760–1849) created a staggering, private collections the world over, these multifaceted oeuvre of some 30,000 works, many of which may never again Hokusai (1760–1849) works depicting a wide range of motifs in leave Japan, highlight six key identities: Texts by Seiji Nagata, Mika Negishi, a variety of mediums, styles and moods. Shunrō, 1778–1794; Sōri and the Sōri Atsuko Okuda, Makoto Takemura and While he spent most of his life in Edo style, 1794–1805; Katsushika Hokusai, Laure Dalon (now known as Tokyo), he moved a total 1805–1810; Taito 1810–1819; Iitsu, 1820– Published by Editions de la Réunion des of 93 times and ceaselessly reinvented 1834; and Gakyō Rōjin Manji, 1834–1849. musées nationaux himself as an artist, changing his profes- Curated by Seiji Nagata, an eminent Grand Palais, Paris, 2014 sional name and his signature around 100 Hokusai specialist and director of Katsu- 416 pages, 590 illustrations, €50 times during the course of his lifetime.1 shika Hokusai Museum of Art in Obuse, This sweeping exhibition, the most in collaboration with Laure Dalon, the extensive ever organized on his output Grand Palais’ assistant scientific director, outside of Japan, showcases the astonish- the exhibition is presented in a succes- ing breadth and diversity of his career in sion of sober, subtly lit, dark-gray galler- more than 500 paintings, sketches, wood- ies evoking an unbroken lifeline.

Art in Print January – February 2015 37 Little is known about Hokusai’s childhood. Born in Edo in 1760, he was adopted at age three into an artisanal family; his father was a mirror maker. He began drawing at six years old. At the age of 14, he worked as a delivery boy for a lending library; at 16, he was apprenticed to a xylographer and learned the art of wood engraving. When he was 18, he was apprenticed to Katsukawa Shunshō, a noted artist of ukiyo-e (“pictures of the floating world”), woodblock prints that reflected the sensuality and hedonism of the rising middle class and its appetite for theater, wrestling, teahouses and kabuki. Shunshō was particularly adept at por- traiture. In contrast to the idealized images typical of the Torii school, his expressive portraits of popular kabuki actors, in great demand, were specific likenesses. His young apprentice excelled in his training. Within the first year of his apprenticeship, his name changed for the first time when his master dubbed him Shunrō Katsushika Hokusai, Shinpen suiko gaden shohen shochitsu (The Water Margin, Illustrated (Spring Brilliance). In 1779, he published New Edition of Suikoden, the first part) (September 1805), first book in a six-volume set (yomi-hon), “hanshi-bon” format, approx. 22.8 cm x 15.8 cm. Katsushika Hokusai Museum of Art, Tsuwano. his first prints, a series of actor portraits, ©Katsushika Hokusai Museum of Art. and remained in Shunshō’s atelier for more than a decade, producing single-sheet greeting cards called surimono, he created and “Eight views of Edo.” His notoriety prints and illustrating novelettes. images of demure woman, like Japanese grew; he began to accept his own pupils After Shunshō’s death, he left the ate- pinups, and graceful landscapes, as in his and took on the name Hokusai (Studio of lier and began working independently series “Fireworks at Ryōgoku Bridge” (1790). the North Star), perhaps alluding to his under the name Sōri. In commissions for In 1800, he published his series unwavering ambitions. illustrated calendars (egoyomi) and lavish “Famous Views of the Eastern Capital” In sensationalist adventure novels known as yomihon, individual prints and poetry albums, he began exploring West- ern notions of chiaroscuro, as seen, for instance, in Ushigafuchi at Kudan (1800– 1804), depicting several figures strolling uphill in a summery landscape. Western influences are reflected in his palette, which corresponds to oil paint, and a thin, trompe-l’oeil wooden frame decorating the image. A consummate showman, Hokusai was also a precursor of performance art. Set up in the street, he would paint with his fingernails or an eggshell. He painted a minuscule grain of rice with two spar- rows in flight; conversely, he dipped a broom into a wooden vat of ink to make a 600-foot-long portrait of a Buddhist priest. When challenged to an artistic duel, the mischievous artist prepared a large, blue panel and placed it on the ground, then dipped a rooster’s claws in red paint and chased the squawking bird across its surface, claiming its tracks depicted autumn leaves floating on a river. To attract new students, the artist now Katsushika Hokusai, Hokusai Manga (Random sketches by Hokusai), sketchbook number 1 (January 1814), illustrated book with colored woodblocks,“hanshi-bon” format, approx. 22.8 cm x 15.8 known as Taito (Polar Star) began com- cm. Katsushika Hokusai Museum of Art, Tsuwano. ©Katsushika Hokusai Museum of Art. piling drawing manuals, starting in 1812

38 Art in Print January – February 2015 with Quick Lessons in Simplified Drawing. One of the show’s highlights is the enormous vitrine presenting several rows of Hokusai’s manga3 (random sketches), a multivolume compendium of impromptu drawings. His fifteen extraordinary albums (the first published 200 years ago, in 1814, and the last published post- humously) contain some 3,900 drawings, now seen as an encyclopedia of everyday life in Japan. Keenly observed, even comi- cal at times, these studies include insects, flowers, mythological characters and the human body in motion. Unlike his contemporaries, he gave prominence to the everyday activities of ordinary people: farmers, fisherman and servants toil, dance, eat or sleep. Although Hokusai suffered a stroke in his late 60s and was for a time partially paralyzed, his gifts, far from diminish- ing, appear to have increased. Under the Katsushika Hokusai, Kanagawa oki namiura (The Great Wave off Kanagawa) from the series incarnation of Iitsu in his early seven- Fugaku sanjurokkei (Thirty-six Views of Mount Fuji) (ca. 1830–34), color woodblock print (nishiki-e), ties, he produced the works that form the 25.6 × 37.2 cm. Koninklijke Musea voor Kunst en Geschiedenis (Royal Museums of Art and History), Brussels. ©Royal Museums of Art and History, Brussels. exhibit’s centerpiece, his luminous woodblock prints. Fresh, sharp and surprisingly modern, these inventive works light up fraught with bad luck: impoverished, the darkened galleries. The iconic Great Hokusai lived partially in hiding after Wave, from his series “Thirty-six Views paying off his grandson’s gambling debts. of Mount Fuji,” of the volcano in differ- In 1839, his living quarters caught fire, ent weather and from various vantage and all his remaining sketches were points, is a portrait of incipient disaster, a destroyed. But he continued drawing and threatening wave on the verge of engulf- painting, even on his deathbed, and died ing three tiny boats, the peaked swell in at age 89. He wrote, “At the age of 73, I the foreground and a tiny Fuji in the dis- began to grasp the underlying structure tance. One clearly perceives the impact of of birds and animals, insects and fish, and his art in catalyzing the japonisme that the way trees and plants grow. Thus I will influenced 19th-century French artists, have even a better understanding when I as well as his familiarity with European am 80, and by 90 will have penetrated to perspective and materials—the vibrant the heart of things. At 100, I may reach a color comes from the synthetic, dark-blue level of divine understanding, and if I live pigment Berlin blue, or Prussian Blue, decades beyond that, everything I paint— which had recently become more cheaply dot and line—will be alive.” available through China. Alongside the views of Fuji, other series include “One Hundred Tales,” from Laurie Hurwitz is a curator at the Maison européenne de la photographie and the Paris Japanese ghost stories, including Hoku- Katsushika Hokusai, Oiwa-san (The Ghost of correspondent for ARTnews magazine. sai’s image of Oiwa’s ghoulish face emerg- Oiwa) from the series Hyaku Monogatari ing from a lantern, or detailed images of (One Hundred Tales) (ca. 1831-1832), color flowers and birds, like the contemplative woodblock print (nishiki-e), 24.8 × 18.2 cm. Notes: Katsushika Hokusai Museum of Art, Tsuwano. Hibiscus and Sparrow (circa 1830–1834), 1. To protect the most fragile pieces, the exhibi- ©Katsushika Hokusai Museum of Art. seemingly inspired by Flemish paintings. tion is organized into two phases. It closed from In the stylized “A Tour of the Waterfalls November 21 to 30, 2014, to replace 175 works of the Provinces,” he invents new ways on silk or paper with equivalent ones. 2. In Japanese tradition, it was commonplace to of depicting falling water, his white and change one’s name to reflect important life transi- blue vertical lines spreading out like a tions, but Hokusai seems to have taken this cus- woman’s long hair, or tree roots. tom to an extreme. The show culminates in expressive 3. Although many of his admirers were young art- paintings of lions, tigers and dragons, ists, the term manga here bears no relation to the manga comic books of today; there is no narra- signed Gakyo Rojin Manji, the “Old man tive. Still, the figures might be precursors of comic mad about art.” His last years were book and action figures.

Art in Print January – February 2015 39 EXHIBITION REVIEW KP Brehmer’s Realpolitik By Paul Coldwell

“KP Brehmer. Real Capital–Production” Raven Row, London 25 September – 30 November 2014

KP Brehmer. Real Capital-Production Texts by Mark Fisher and Kertin Stakemeir 48 pages, 22 b/w illustrations Published by Raven Row, 2014 Free.

he late German artist KP Brehmer T (1938–1997) is less well-known than his contemporaries Sigmar Polke and Gerhard Richter, but like them he was closely associated with Galerie René Block and with the “Capitalist Realism” strain of ambivalent pop art in the 1960s and early ’70s. While Polke and Richter moved on from their early concerns with mass media and the political implications of consumer culture, Brehmer remained fascinated by the relationship between information, printed matter and socio- political functions. The recent exhibition at Raven Row was the artist’s first solo exhibition in the U.K. and a rare opportunity to see this substantial body of work. Raven Row is a five-year-old, nonprofit, contemporary exhibition center situated in a narrow street near the Whitechapel Art Gallery. Formed from an 18th-century house and two new, purpose-built exhibition spaces, it offers an intriguing mix of intimate domestic rooms, stripped Installation view of “KP Brehmer. Real Capital Production,” Raven Row, 2014. On the right wall: down but full of period detail, along- KP Brehmer, Auswahlbeutel Kiloware (Kiloware Assorted Bag) (1967), print on card, on melamine side contemporary galleries—a union of under plastic, 116 × 145 cm. Estate of KP Brehmer, Berlin. Photo: Marcus J. Leith. old and new that echoes the dynamic of its location on the border between the Work such as Aufsteller 25. Das Gefühl From the perspective of printmak- East End and the City of London. Its zwischen Fingerkuppen—Display 25 (The ing, this exhibition is a useful reminder stated aim is to “exhibit diverse work of feeling between fingertips, 1967), which that print at its most basic is a means of the highest quality, often by established features a girl smoking a suggestive cigar reproduction and distribution. Brehmer’s international artists, or those from the above an array of seed packets for flow- work feels driven by an imperative to recent past, who have somehow escaped ers and vegetables, shares certain visual induce change and reflection, and to this London’s attention.” Brehmer fits the bill properties with prints made by R.B. Kitaj end anything unessential has been edited precisely. and Joe Tilson around the same time. out. This quality of structural clarity was The exhibition begins with works Brehmer’s work, however, seems edgier, carried through in the exhibition design: from the early ’60s in which Brehmer more urgent, and his employment of the the show was laid out thematically, each cited and recombined pop imagery from iconic pop art half-tone screen is not so section labeled alphabetically (A–G) and advertising, commercial packaging, aestheticized. The elements he borrows each work number correspondingly (A1, newspapers and pinup girls, all printed seem less distanced from their sources, as A2, etc.). to emphasize the nature and underly- if still in circulation rather than removed In the mid-60s, Brehmer began making structure of the reproduced image. and represented as art. ing enlarged reproductions of postage

40 Art in Print January – February 2015 Left: KP Brehmer, Seele und Gefühl eines Arbeiters, Whitechapel Version (Soul and Feelings of a Worker, Whitechapel Version) (1978), paint on canvas, two parts, 604 × 111 cm each. Made for “Thirteen Degrees East: Eleven Artists Working in Berlin,” Whitechapel Gallery, London. Estate of KP Brehmer, Berlin. Photo: Marcus J. Leith. Right: Installation view of “KP Brehmer. Real Capital Production,” Raven Row, 2014. From left to right: Start 3 (1968) laminated print on card, six parts, 55 × 40 × 3 cm each; Hommage à Berlin (Homage to Berlin) (1965) print on card, metal, 40 × 20 × 23 cm. Block Collection; Aufsteller: Ohne Titel (Display: Untitled) (1965), laminated print on card, 64 × 50 × 5 cm; Ohne Titel (Untitled), (1965), laminated print on card, boxes, book, 68 × 56 × 2 cm; Schachtel ‘Für Beuys’ (Box ‘For Beuys’) (1965) laminated printed paper, collage on card, 14 × 6 × 6 cm; Schachtel (Box) (1966) laminated print on card, film stock, 22 × 23 × 2 cm; Schachtel (Box) (1966), laminated print on card, 15 × 21 × 2 cm; Aufsteller 25. Das Gefühl zwischen Fingerkuppen… (Display 25. The Feeling Between Fingertips…) (1967), print on card, plasticised surface, seed packets, 70 × 50 × 36 cm. All works courtesy Estate of KP Brehmer, Berlin, unless otherwise stated. Photo: Marcus J. Leith. stamps, franked and perforated around visual essay on how we see through tech- implicit absurdity of attempting to quan- the edges, which impose an abstract lan- nology. (Looking back from 2014, it also tify emotional experience, and yet today guage onto the figurative images borne by offers a window into a time of analog newspapers and the Internet are filled the stamps, while at the same time rein- technologies and physical film.) with charts purporting to identify the forcing their identity as stamps. A number Information and its representation happiest cities on earth or the best places of these were featured in the exhibition, is strikingly the subject of Korrektur der to live. both individually and in packages such as Nationalfarben, Gemessen an der Vermo- Sometimes the directness of the ques- Auswahlbeutal Kiloware (Kiloware Assor- gensverteilung (Correction of the National tions Brehmer poses is disarming: in ted Bag, 1967) that allude to the idea of Colors according to the distribution of Form aus: Weltkrieg möglich —Weltkrieg stamp collections as representations of wealth, 1970), an assemblage consisting unmöglich, 1955–1980 (World War Pos- the world as a whole. The stamps can be of a draped flag and enamel plaque. In sible—World War Impossible, 1955–80) he seen as an extension of Brehmer’s inter- this rendition of the West German flag, asks in German, “Will there be another est in everyday printed ephemera—the the normally equal divisions into black, world war in the next three years?” The very visible process of photo reproduction red and gold have been readjusted; the resulting multimedia work on graph with enlarged half-tone dots and simpli- enamel panel provides the key: the nar- paper takes the form of a diagram with fied color separations connect visually to row black and barely discernible red a blood-red dagger shape that seems to the earlier work. At the same time, the stripes represent respectively the mid- epitomize the Cold War and its collective stamps inject the political and economic dle class and, in the artist’s words, “the anxiety. workings of the nation state into the remaining households,” while the gold Prior to this exhibition, I had seen printed object. stripe, now swollen to 7/8 of the flag, only the occasional piece by Brehmer, The thread tying this diverse body represents big business. most often in exhibitions devoted to the of work together is the artist’s concern Data visualization also drives Seele innovative René Block gallery. I was with how information is made visible. und Gefühl eines Arbeiters, Whitechapel struck by how undated the work appeared In a series of 1970 films, Walkings 1–6, Version (Soul and Feeling of a Worker, and how relevant the artist’s questions Brehmer presents simple propositions Whitechapel Version, 1978)—two huge remain. Leaving Raven Row, where the about the nature of film: in one he made charts, pinned to the wall, that record the shadows of corporate skyscrapers fall on the length of the film correspond to the result of a questionnaire on well-being the bijou apartments, small businesses length of the distance covered by the and collate responses from very happy and social housing of the East End, I walk taken; another records the retracing to neutral, and on to nervous, uneasy wondered what kind of configuration of a walk taken previously. In a third, the and fearful, all blocked out like a musi- Brehmer would have made of the British simple task of trying to position a fixed cal score. In the exhibition catalogue, national flag. image of the Berlin Victory Column on Mark Fisher ponders whether this is “a top of a moving image of the same monu- genuine attempt to render workers’ emo- Paul Coldwell is Professor in Fine Art at the ment so they become a single perfectly tions in graphic form, or a parody of such University of the Arts London and is the author of registered entity becomes a marvelous efforts?” The work’s poignancy lies in the Printmaking: A Contemporary Perspective.

Art in Print January – February 2015 41 BOOK REVIEW In one essay, Pederson-Krag bor- of place. Her paintings may occasionally rows from Carl Jung to draw a distinc- seem a bit tired, and she tends toward an tion between “signs” (fixed, commonly overall diffuse yellow haze. accepted indicators that lead us back into There is a tension between these the familiar material world) and “sym- tightly subdued surfaces and the art- bols,” which transport us beyond think- ist’s stubborn refusal to offer the viewer ing and feeling: “A symbol,” Jung writes, explanatory references or explicit mean- “is a term, a name, or even a picture that ing. One finds this tension in Vermeer as may be familiar in daily life, yet that pos- well: we are offered everything but told sesses specific connotations in addition little. There are no surprises in Pederson- to its conventional and obvious meaning. Krag’s work, but no certainty either. It implies something vague, unknown, Her landscapes and interiors have a or hidden from us.”1 Pederson-Krag aims fullness and sufficiency that can make to create symbols in this sense, and as a the entry of human figures perplex- Gillian Pederson-Krag: result her images resist direct or unam- ing. As in Edward Hopper’s work, there Paintings and Etchings 1970–2011 biguous interpretation, and are refresh- is some awkwardness in their appear- By Gillian Pederson-Krag ingly slow to absorb. ance, a formality and slight discomfort. with an introduction by Tom Mederos The surfaces of these prints and paint- For Pederson-Krag they serve a different and contributions by Jeannot Barr ings are exhaustively considered; their ges- function from their inanimate settings: 165 pages, 108 illustrated works tures soft, calm and abbreviated; all is in “Still-life and landscape paintings seem Published by Larson Publications, order. Every complication of composition to originate from what I am observing. Burdett, New York, 2011 has been resolved, every nuance and mark The figure paintings appear to come from $38 integrated. The etchings avoid vagueness some kind of imaginative concept.”2 In by bringing us back to the surface with Picnic (2009), she brings the viewer into refined foul biting in open passages. Her a painstakingly presented but emotion- work has a lived-in quality, burnished and ally ambiguous world: the golden sun- seasoned; there is nothing harsh or out shine is inviting, but the couple on the

By Brian D. Cohen

his new monograph surveys four T decades of Gillian Pederson-Krag’s oeuvre, reproducing some 100 works from the lengthy career of this contemporary realist painter and printmaker. The text, apart from a brief introduction by Tom Mederos, is the artist’s own: five brief essays in which Pederson-Krag outlines her intentions, preoccupations and influences. She cites and reproduces work by Giorgio Morandi, Arthur Rack- ham, Georges Seurat, Edouard Vuillard and Walter Murch, as well as a Byzan- tine Madonna, a Chinese brush painting and an Ivorian sculpture. While the art she admires is remarkably diverse, Ped- erson-Krag’s own emphases in her landscapes and still lifes—transcending the world and transporting the viewer—have remained quietly consistent throughout her career; and though she has been recognized by major collections, residen- cies and awards, it remains hard to place this elusive and reticent artist among her contemporaries. It is even hard to find an obvious thread linking the living artists she praises—Caren Canier, Neil Riley, Mark Karnes, James Bohary and Col- leen Randall—beyond the general sense of contemplation and mystery, and their understated painterly virtuosity. Gillian Pederson-Krag, Landscape (1991), soft ground and hard ground etching, 9 x 9 1/2 inches.

42 Art in Print January – February 2015 Left: Gillian Pederson-Krag, Two Performers (1981), oil on canvas, 22 x 24 inches. Innes Collection, Charlottesville, VA. Right: Gillian Pederson-Krag, Picnic (2009), oil on canvas, 18 x 15 inches. grass, engaged with each other, is not. painting Mezzetin (1718–20), the perform- Her mise-en-scènes carry solemn, mythic er’s heartfelt gesture, vulnerable and weight, like those of the French 19th- mannered, reaches out to no one in par- century Symbolists Pierre Puvis de Cha- ticular. Here her poise and formality con- vannes and Paul Gauguin. Again like the vey expectancy—a muted longing. It is an Symbolists, Pederson-Krag is drawn to exquisite and enigmatic image, evoking images of death, angels, picnickers and what Jung called a “symbolic existence in sleeping women. But her art historical which I am something else, in which I am net is broad: she also invokes the gener- fulfilling my role, my role as one of the ous spirit and honest reticence of Jean- actors in the divine drama of life.” Peder- Baptiste-Siméon Chardin (1699–1779) as son-Krag’s own role is to carry us to a well as the secrecy and intimacy of Bal- place of vivid stillness—ineffable, reso- thus (though without the frisson of for- nant, suspended—which we cannot fully bidden sexuality). In their unresolvable understand. tension, her scenes also carry a sugges- tion of Surrealism. And yet, behind it all one senses her love of Greek art, the art Brian D. Cohen is an educator, writer, printmaker and painter. His essays on arts education that first moved her as a child. are a regular feature of the Arts and Culture In her etchings Pederson-Krag keeps section of the Huffington Post. nature carefully husbanded. In Land- scape (1991) she surveys the world with the granular care of Pieter Breughel the Notes: 1 Carl Jung, Man and His Symbols, Carl Gustav Elder, attending to the minutiae of the Jung and Marie-Luise von Franz, eds. (London: surface. Like Hercules Seghers, another Aldus Books, 1964), 3 important influence, she incorporates 2 “Interview with Gillian Pederson-Krag by Elana color in a subtly atmospheric way by Hagler,” Painting Perceptions: Commentary on printing with low-intensity hues. With Perceptual Painting. Posted 16 April 2012. http:// paintingperceptions.com/featured-interviews/ rare exceptions, neither her etchings nor interview-with-gillian-pederson-krag her paintings exceed 24 inches in either dimension; these are objects of intimate attention and reflection. In the 1981 painting Two Performers Pederson-Krag presents a singer in a long gown accompanied by a lutenist. The scene is staged, the setting is bucolic, the foreground rocky yet tidy. Shadows are lengthening, and the atmosphere is golden and still. As in Antoine Watteau’s

Art in Print January – February 2015 43 BOOK REVIEW and the ideal ease (sprezzatura) of the catalog entries includes Mantegna’s pre- courtier on the other. In the final analy- liminary drawing of a dancing muse for sis, Arcadia can be understood as a reflec- his Parnassus painting (cat. 10), Marcan- tion on “incarnation through art.”1 tonio Raimondi’s allegorical drawing The dream world of Arcadia became of a youth in melancholy pose (cat. 88),2 a popular pictorial subject In the course Domenico Campagnola’s reclining nude of the 15th century, a phenomenon that of 1517 (cat. 55) and what is perhaps the formed the basis of the exhibition “Arca- only completely preserved impression of dia: Paradise on Paper” recently on view Giovanni Andrea Vavassore’s remarkable at the Berlin Kupferstichkabinett. Con- nine-block monumental woodcut, Laby- ceived and curated by Dagmar Korbacher, rinthus or Large Love Maze (cat. 15). the exhibition and its excellent catalogue Given so much rich visual material, showcased works from the from the strong research, well-studied questions, Kupferstichkabinett holdings: drawings, clear lines of development, and critical prints and book illustrations—an impor- protagonists, Arcadia makes an ideal Arkadien: Paradies auf Papier, tant component, given the theme. exhibition theme.3 On view in Berlin were Landschaft und Mythos in Italien The catalog’s seven sections follow the the positive aspects of this dreamland as (Arcadia: Paradise on Paper, topics and history of the Arcadian ideal well as its pangs of love and melancholy, Landscape and Myth in Italy) over two centuries from roughly 1440 to both of which have, since antiquity, been Edited by Dagmar Korbacher with 1640, moving from representations of the constituent parts of Arcadia. contributions by Christophe Brouard Christian Arcadia of Eden to the melan- The central importance of Venice as and Marco Riccòmini cholic Arcadia most famously captured a source of Arcadian images is beyond 272 pages, fully illustrated in Guercino and Poussin’s celebrated question, but it is important to note the Published by Berlin/Petersberg: Michael paintings (not, of course, included in proliferation of related work from else- Imhoff Verlag, 2014 this exhibition) under the motto “Et in where in Italy: from the Milanese Acca- €29.95 Arcadia ego.” Within this framework, the demia dei Facchini della Val di Blenio, to catalog presents “sites of humanism:” the Padua and Bologna, (cf. p. 57) to ancient “Arkadien. Paradies auf Papier. Landschaft inspirations, ideals and realities of land- gardens from Rome to Naples. This raises und Mythos in Italien” scape painting; Venice as a special focus questions about the various socio-polit- Kupferstichkabinett Staatliche Museen of Arcadian ideas; mythological scenes in ical fantasies that frequently underlay zu Berlin, 7 March – 2 June 2014 Arcadian contexts; as well as the closely Arcadian longing—and are understood overlapping theme of Arcadian repose to have led toward Renaissance utopias. (sleeping Venuses and nymphs and atten- The catalog (page 58) also notes the influ- dant erotic encounters). ence of Arcadian ideas on depictions The wide range of outstanding works of the newly discovered lands outside Paradise on Paper illustrated and discussed in the detailed Europe, especially America, which were By Ulrich Pfisterer

he allure of Arcadia arises in large T part from the tension between nature and art. This dream-time and dream-place embodies not only the pastoral ideal of a simple life in harmony with nature, but also gives form to principles of virtue, love, otium (contemplation and leisure) and what we would now call creativity, all within a fictional society of shepherds. This seemingly natural earthly paradise—a freshly-minted Golden Age—had to be evoked with great artfulness so that its actual artificiality could be forgotten. The ancient rhetorical principle “ars est celare artem” (it is art to conceal art) has many applications, but is particularly indispensible in the depiction of the bucolic, idyllic and pastoral. It is no coincidence that two early-16th- century bestsellers—Jacopo Sannazaros’ Arcadia and Baldassare Castiglione’s Cor- tegiano (The Courtier)—are devoted to Giovanni Andrea Vavassore, Labyrinthus or Large Love Maze (ca. 1530–40), woodcut, nine single the ideal pastoral world on the one hand sheets, overall 86 x 119.5 cm. ©Staatliche Museen zu Berlin, Kupferstichkabinett / Volker H. Schneider.

44 Art in Print January – February 2015 embodied in so many 16th-century pictures. Prints depicting these subjects vacillate between the ideal of the “noble savage” and assertions of pure deviancy (for example, cannibalism). This dark side of Arcadia calls attention to the fact that even in Italy the concept of an ideal pastoral world was not without its critics. Laughter and derision aimed at rural people (for example, the drawing of a “tramp” after Annibale Carracci, cat. 39 a), paro- dies of mythical personnel (especially of Parnassus), gender relationships that defy the laws of love, and moments of violence (for example the battle between Apollo and Marsyas, cat. 75-77) opened cracks in the Arcadian ideal and put it up for discussion. Perhaps the biggest challenge, in view of the many pictorial representations of Arcadia, is the question of how these various types of representation consider and thematize their own position within the larger artistic and cultural sphere (this is especially important in terms of the representation of music). By this I mean more than just how different levels of culture were assessed—how, for example, does Vitruvius’ “beginning situation” of architecture in Arcadia figure? This implies, above all, categorical questions. The concept of Virgil’s wheel (rota Vergi- lii) asserted a precise match between each poetic mode and a rhetorical style: pasto- rals (Bucolica) were simple, unlike the Georgics or the high style of the epic Aeneid. But in the “camerino” constructed for Alfonso d’Este in 1529, this established hierarchy of genres seems to have been deliberately thwarted in the way the paintings were hung: Titian’s Bacchanal of the Andrians and other large format paintings occupied the main rank, while Dosso Dossi’s epic scenes from the Aeneid were displaced to a narrow frieze under the roof. An examination of what this meant for the production and reception of Arcadian prints, and for the Marcantonio Raimondi, Melancholic Youth (ca. 1507–08), pen and brown ink on paper, 17.6 x 10.7 cm. thematic, formal and technical experi- Berlin, Kupferstichkabinett—Staatliche Museen zu Berlin, KdZ 15231. ©Staatliche Museen zu Berlin, Kupferstichkabinett / Volker H. Schneider. mentation so characteristic of the field, may be the next step to take.

2001), 83-106. means losing a significant part of a (young) life. Ulrich Pfisterer teaches art history at the 2. The interpretation of this allegory has been The drawing should thus be seen in terms of the Ludwig-Maximilians-Universität in Munich. hampered by misidentified attributes: in his right tension between inscription and image as a proto- hand the boy holds, not scales, but the balance type for an emblem. wheel of a clock. He sits on a clock whose time 3. The catalogue bibliography missed a slightly Notes: has stopped, and rests his foot on a diamond ring earlier exhibition on this theme organized by 1. Winfried Wehle, “Menschwerdung in Arkadien: to which two hearts are chained (or two halves Stephan Brakensiek. See Brakensiek (ed.), die Wiedergeburt der Anthropologie aus dem of one heart?). These hearts (or heart) should be Verweile doch! Arkadien als Thema der Druck- Geist der Kunst,” in Über die Schwierigkeiten, interpreted as locked and resistant to temptation. graphik, 1490-1830 (Trier: Universität Trier Graph- (s)ich zu sagen. Horizonte literarischer Subjekt- The melancholy arises from the idea that “vic- ische Sammlung, 2010). konstitution, (Frankfurt am Main: V. Klosterman, tory” over the chance and chaos of time and love

Art in Print January – February 2015 45 Prix de Print No. 9 PRIX de Island by Victoria Burge PRINT Juried by Diana Ewer

This iteration of the Art in Print Prix with marked constellations. As I looked cal, the literal to the imagined, echoing de Print has been judged by longer, the deep black and sharp white our own interaction with maps. Diana Ewer. The Prix de Print is a gave way to reveal recognizable land- The print’s mottled black surface bimonthly competition, open to all masses—the islands of Kauai in Hawaii evokes a desire to discover what lies subscribers, in which a single work is and Mindoro in the Philippines—beneath beneath, and at the same time offers a selected by an outside juror to be the sub- the scattered clouds of a storm-ridden sky. visual metaphor for the layering of mem- ject of a brief essay. For further informa- Burge’s layering of cartographic sys- ory, for connections charted between tion on entering the Prix de Print, please tems is disorienting: are we looking up at past and present to imbue existence go to our website: www.artinprint.org/ a sky full of stars, or looking down onto a with a greater sense of continuity. It also index.php/about#competitions. moonlit ocean? Inviting exploration, Island touches on the relationship between lived steps between terrestrial and celestial car- experience and the enigmatic, multifac- Victoria Burge, Island (2013) tographies in delicate counterpoint. eted nature of memory. Collagraph, silkscreen, inkjet and chine Subtracting and abstracting infor- In its production, Island merges analog collé, image 20 1/4 x 15 1/2 inches, sheet 26 mation to generate new connections is and digital technologies to create a print 1/2 x 20 3/4 inches. Edition of 25. Printed part of the artist’s broader interest in with deeply evocative sculptural quali- and published by Aspinwall Editions, what she calls “the architecture of line” ties—the dimensionality of Island mov- New York. $750. and the multiple dimensions and impli- ing inwards or outwards depending on cations of space. Burge first explored how you wish to interpret it. Burge gives this concept by making alterations to credit to printer and publisher Ann s a map enthusiast, I was drawn to books before recognizing the poten- Aspinwall for the tonal richness and A Island (2013) by Victoria Burge tial of antique maps rich in historical meticulous execution: the black sfumato among the submissions to the Prix de importance, symbolism and occasional was created by printing a collagraph plate Print. Maps have a beauty of their own misrepresentation. Since then, the art- over a digitally printed scan of an original and an intriguing abstract visual lan- ist has been drawing directly on to the old map, with the collagraph element guage. In a complex and interconnected surface of maps in acrylic, ink and pen- taking the place of the artist’s ink and world, they provide us with a comforting cil, often working with 19th-century brushwork in her drawings. Aspinwall, a sense of knowing where we are, while material such as the map that forms this skilled collagraph printmaker, says her simultaneously bringing out the explorer print’s substructure. Her aim, she says, objective was “to create an image that in us. Over the years, they have proven to is to “abstract the original cartographic was by no means a reproduction of be ideal departure points for comment information, by plotting invented con- Burge’s drawings on maps, but to assimi- and critique, full of explicit and buried nections and networks of possible tra- late the depth and painterly qualities of meaning, while tied to the places—real or jectories.” City locations “become stellar those works. …. One of the points of an imagined—that they depict. Increasingly, coordinates with connecting lines repre- artist working with a printer is for the contemporary artists—John Baldessari, senting paths of travel or commute; the artist to achieve results that he or she Vik Muniz, Grayson Perry and Paula many ways one leaves and returns to a could not do alone.”2 Scher, to name a few—are using cartogra- place.”1 Reminiscent of an aviation map phy to explore and challenge established depicting flight paths between intercon- concepts of navigation and orientation. nected cities as nodes of communication, Diana Ewer is a New York-based curator, Burge’s Island is a wonderful case in point. Island can be read as a web linking people consultant and contemporary print specialist. Illusive and opaque, Island is con- (past and present) to coded systems of founding at first glance. I found myself communication and exchange we have returning again and again to reevalu- used to navigate for centuries. Conflat- Notes: ate previous assumptions. The orderly ing internal and external geographies, 1. All quotes from Victoria Burge, phone interview 24 Nov 2014, or the artist’s notes submitted for Island. pinpoints of light, connected by incisive Island also suggests neural networks that 2. Email correspondence with Ann Aspinwall, 25 white lines, initially suggested a night sky line the topographical to the psychologi- Nov 2014.

46 Art in Print January – February 2015 Victoria Burge, Island (2013).

Art in Print January – February 2015 47 Ida Applebroog, Ephemera (2014) News of the Suite of five prints: etching and photogravure, 12 x 15 inches. Edition of 25. Printed by Lothar Osterburg Studio, Brooklyn, NY (gravure) and Print World Jennifer Melby, Brooklyn (etching). Coordinated by Diane Villani Editions, New York. Published by Hauser & Wirth Editions, New York. $12,000 (pre-publication price). Selected New Editions Amy Barkow, The New Yorker, July 22, 2013 Maser, Together (2014) Issue pp. 44, 45 (2014). Relief and lithography, 33 1/8 x 43 13/16 inches. Edition of 24. Printed by Bruce Crownover and Andy Rubin, Madison, WI. Published by Tandem Nick Butcher and Nadine Nakanishi, Press, Madison. $1,200. Casts Light (2014) Screenprint, 24 x 36 inches. Edition of 50. Printed by the artist, Chicago. Published by Sonnen- zimmer, Chicago. $180.

Ida Applebroog, Ephemera (2014).

Ann Aspinwall, Münster V (2014) Collagraph with hand coloring, 53 x 86 inches. Maser, Together (2014). Edition of 5. Printed and published by Aspinwall Editions, New York. $5,500. Fanny Allié, Sept 12–14 (2014) Digital sewing, 20 x 15 inches. Edition of 15. Printed by Solo Impression, New York. Published by Sugarlift, New York. $1,000. Nick Butcher and Nadine Nakanishi, Casts Light (2014).

Matthew Day Jackson, LIFE, June 5th 1944 (2014) Rust (iron oxide) transfer and wood block, Ann Aspinwall, Münster V (2014). 30 1/4 x 21 3/4 inches. Edition of 25. Printed by Mae Shore, Shore Publishing, Tuxedo Park, NY. Coordinated by Diane Villani Editions, New John Baldessari, The News: Four Ducks York. Published by Hauser & Wirth Editions, Standing on a Bench… (2014) New York. Price on request. Multi-colored screenprint, 117.5 x 89.2 cm. Edi- tion of 50. Printed and published by Gemini G.E.L. LLC, Los Angeles. Price on request. Fanny Allié, Sept 12–14 (2014).

Polly Apfelbaum, Baroque Time Machine 3 (2014) Woodblock on handmade Japanese paper, 200.7 x 200.7 cm. Unique image. Printed and published by Durham Press, Durham, PA. $36,000.

Matthew Day Jackson, LIFE, June 5th 1944 (2014).

John Baldessari, The News: Four Ducks Nancy Diessner, Blind Sight (2014) Standing on a Bench… (2014). Intaglio, 24 x 15 inches. Edition of 5. Printed and published by Dog's Eye Print Studio, Framing- ham, MA. $800. Amy Barkow, The New Yorker, July 22, 2013 Issue pp. 44, 45 (2014) Letterpress, 12 x 16 inches. Edition of 33. Printed by Robert Blackburn Printshop, New York. Pub- lished by Sugarlift, New York. $400. Polly Apfelbaum, Baroque Time Machine 3 (2014).

48 Art in Print January – February 2015 Jane E. Goldman, Audubon January (2014) Archival pigment print, hand-painted, 21 3/4 x 29 3/4 inches. Edition of 25. Printed and published by Stewart & Stewart, Bloomfield Hills, MI. $1,000.

Joan Jonas, Untitled (Signed and numbered special edition for the Safety Curtain 2014/15 in the Vienna State Opera) (2014).

Nancy Diessner, Blind Sight (2014). Kim Reid Kuhn, The Objections of Jane E. Goldman, Audubon January (2014). Domesticity (2014) Color reduction woodcut, 29 x 42 inches. Edition Rochelle Feinstein, Research Park Project (2014) of 11. Printed by Karen Kunc and Kim Reid Kuhn, Handpainting and screenprint on canvas, 80 x Lincoln, NE. Published by Constellation Studios, 71 1/2 inches each. Edition of 17 unique works. Adrian Henri, Valentine Painting (2014) Lincoln, NE. $2,500. Printed and published by Graphicstudio, Tampa, Screenprint, 30 x 30 cm. Edition of 80. Printed FL. $23,000 each. by Fran Disley at the Bluecoat Print Studio, Liverpool, UK. Published by Occasional Papers, London. £150.

Kim Reid Kuhn, The Objections of Domesticity (2014). Rochelle Feinstein, from Research Park Project (2014). Bernadette Madden, Fire (2014) Adrian Henri, Valentine Painting (2014). Screenprint, 8 x 8 inches. Variable edition of 21. Printed and published by the artist. Available Nancy Friedemann, Untitled (TBD) (2014) from The Inkshop Printmaking Center, Ithaca, Woodcut, 30 x 55 inches. Edition of 10. Printed Sidney Hurwitz, Engine #2 (2014) NY. $60. by Karen Kunc and Nancy Friedemann, Lincoln, Aquatint, 18 x 20 1/2 inches. Edition of 16. Printed NE. Published by Constellation Studios, Lincoln, by Robert Townsend, Georgetown, MA. Pub- NE. $4,500. lished by the artist, Newton, MA. Available from Stewart & Stewart, Bloomfield Hills, MI. $900.

Nancy Friedemann, Untitled (TBD) (2014). Bernadette Madden, Fire (2014).

Chitra Ganesh, Architects of the Future: Enrique Martínez Celaya, The Optimists (2014) Fortuneteller (2014) Sidney Hurwitz, Engine #2 (2014). Four-color lithograph, 26 1/2 x 20 1/2 inches. Woodblock and screenprint, 65.4 x 56.2 cm. Edition of 95. Printed by Jill Graham, Tamarind Edition of 25. Printed and published by Durham Institute, Albuquerque, NM. Published by Tama- Press, Durham, PA. $2,200. Joan Jonas, Untitled (Signed and numbered rind Institute. $1,800. special edition for the Safety Curtain 2014/15 in the Vienna State Opera) (2014) Seven-color screenprint, 70 x 47.7 cm. Edition of 155. Printed by Galerie Edition Stalzer, Vienna. Published by museum in progress, Vienna. €770.

Chitra Ganesh, Architects of the Future: Fortuneteller (2014). Enrique Martínez Celaya, The Optimists (2014).

Art in Print January – February 2015 49 Allan McCollum, Lands of Shadow and Christian Nerf, überrest (88.1), überrest (88.2), Substance (No. 1–27) (2014) überrest (88.3) and überrest (88.4) (2014) Archival pigment prints, various dimensions. Series of four multi-plate soft ground etchings, Edition of 3 each. Printed and published by image 59 x 53.3 cm each, sheet 89.5 x 65.2 cm each. Graphicstudio, Tampa, FL. $3,500 each. Edition of 3. Printed and published by Warren Editions, Cape Town, South Africa. R53,580 for the set of four.

Bill Scott, Early May (2014).

Allan McCollum, No. 7 from Lands of Shadow Richard Serra, Double Rift V (2014) and Substance (2014). Hand-applied Paintstik and silica on coated paper, 60 x 80 inches. Edition of 15. Printed and published by Gemini G.E.L. LLC, Los Angeles. Jonathan McFadden, Valley of the Confused Christian Nerf, überrest 88-3 (2014). (2014) Price on request. Photogravure, 7 1/2 x 11 inches. Edition of 10. Printed and published by 55 Limited Kupfer- Carrie Ann Plank, GRID/FLOW (2014) druckwerkstatt, Berlin, Germany. €400. Woodcut and monotype, 80 x 80 inches. Edition of 1. Printed by the artist, Basel. Published by the artist, San Francisco. Available from a.Muse Gal- lery, San Francisco. $4,800.

Richard Serra, Double Rift V (2014).

Jonathan McFadden, Valley of the Confused (2014). Dorothy Stites Alig, Jung's Activist (2014) Chine collé on hand-painted gampi with etching, aquatint and spit bite (one of a group of Julie Mehretu, Myriads, Only By Dark (2014) 16 images, each a variable edition of 4), 11 x 14 Four-panel multi-colored aquatint and spit bite, inches. Edition of 4 variable. Printed and pub- Carrie Ann Plank, GRID/FLOW (2014). each panel 205.6 x 114.3 cm. Edition of 30. Printed lished by White River Studio, Indianapolis, IN. and published by Gemini G.E.L. LLC, Los Ange- $500. les. Price on request. Clark Richert, Entanglement (2014) Eight-color lithograph, 31 3/4 x 31 3/4 inches. Edition of 30. Printed and published by Shark's Ink, Lyons, CO. $2,000.

Julie Mehretu, Myriads, Only By Dark (2014).

Vic Muniz, Love Bugs (2014) Dorothy Stites Alig, Jung's Activist (2014). Suite of 12 photogravures, 20 x 20 inches each. Edition of 20. Printed and published by Graphic- studio, Tampa, FL. $2,000 each; $20,000 for the set of 12. Clark Richert, Entanglement (2014).

Bill Scott, Early May (2014) Aquatint, etching, drypoint, softground, 24 x 12 1/2 inches. Edition of 20. Printed by Cindi Ettinger, Philadelphia. Published by the artist, Philadelphia. Price on request.

Vic Muniz, from Love Bugs (2014).

50 Art in Print January – February 2015 Wael Shawky, Untitled (2014) Exhibitions of Note Portfolio of 12 screenprints, 21 x 29.7 cm each. Edition of 35. Printed by Atelier für Siebdruck, ALBUQUERQUE Lorenz Boegli. Published by Parkett Editions, “NEW–Works by New Members” Zurich. $2,900. 2 – 31 January 2015 New Grounds Print Workshop & Gallery http://www.newgroundsgallery.com/ Work by Katie Burkstaller, Joan Martin, Lincoln Draper, Cleo Wilkinson and Stephen Lawlor. And: Rosmarie Trockel, Portrait of the Artist as a “Heroes, Saints and Expeditions— Young Man (2014). Etchings by Ray Maseman” 6 – 28 February 2015 The artist’s newest works include animal figures Bernar Venet, Two Indeterminate Lines (2014) on hopeful voyages of exploration. Polymer gravure, etching, carborundum and photo-etching with wiping printed from three AMSTERDAM copper plates in three shades of black, with “Rotaprints by Aat Veldhoen” color and with linseed oil , 30 1/2 x 39 3/4 inches. 22 August 2014 – 1 April 2015 Edition of 50. Printed by Thumbprint Editions, Rijksmuseum London. Published by World House Editions, Wael Shawky, from Untitled (2014). https://www.rijksmuseum.nl/en/whats-on/ Middlebury, CT. $3,500. exhibitions-now-on-view/rotaprints-by-aat- veldhoen Tanja Softić, Borderlands: See (2014) Fifty years after the heyday of rotaprints, the Lithograph, chine collé, 22 x 22 inches. Edition Rijksmuseum is exhibiting 42 of these works, of 12. Printed and published by Carolyn Muskat, largely from the Rembrandt House Museum. Muskat Studios, Sommerville, MA. $1,800. AUSTIN, TX “PrintAustin: The Contemporary Print” 17 January – 21 February 2015 Big Medium Gallery http://printaustin.org/ PrintAustin’s second annual juried exhibition juried by printmaker Kathryn Polk and Kevin McNamee-Tweed, exhibition curator at Big Bernar Venet, from Two Indeterminate Lines Medium. (2014). “Zen & Now: Fifteen Years of Contemporary Printmaking” Sylvia Solochek Walters, Dearest Daughter 17 January – 28 February 2015 (Lost Lessons) (2014) Davis Gallery http://www.davisgalleryaustin.com/exhibitions. Tanja Softić, Borderlands: See (2014). Reductive woodcut with stencils, 17 3/4 x 12 3/4 inches. Edition of 12. Printed and published by html the artist, Oakland, CA. $800. A retrospective exhibition of work by Houston- Mitchell Squire, Structure of Perception (2014) based artist and printmaker Orna Feinstein. Diptych screenprint on Lastoplate chalkboard panels in artist's frame, overall: 12 1/2 x 15 x 1 1/2 “BLOWOUT X: Juried Student Print Exhibition” inches. Edition of 44. Printed by Luther Davis 23 January – 13 February 2015 at Axelle Editions, Brooklyn, NY. Published by FAB Gallery, Doty Fine Arts Building World House Editions, Middlebury, CT. $1,800. University of Texas at Austin http://printaustin.org/ Exhibition of student work juried by Jeffrey Dell.

“Bob Schneider and Terry Allen: Outside the Lines” 10 January – 10 February 2015 Flatbed Press & Gallery http://www.flatbedpress.com/Exhibits.cfm An exhibition of two musical talents and artists. Sylvia Solochek Walters, Dearest Daughter And: (Lost Lessons) (2014). “Peregine Press: A Texas Legacy” 15 January – 7 March 2015 Over 40 landmark works by Peregrine Press, which operated from 1981 to 1991 in Dallas. Mitchell Squire, Structure of Perception (2014). And: “Alice Leora Briggs: The Room” 14 November 2014 – 10 January 2015 Rosmarie Trockel, Portrait of the Artist as a Work by the artist, including selections from The Young Man (2014) Room, a suite of twelve woodcut prints. Seven-color screenprin, 54 x 100 cm. Edition of 35. Printed by Atelier für Siebdruck, Lorenz “Kathryn Polk: In Her Place” Boegli. Published by Parkett Editions, Zurich. 15 January – 14 February 2015 $2,900. Wally Workman Gallery http://www.wallyworkmangallery.com/calendar. lasso

Art in Print January – February 2015 51 “Black & White: Intaglio” 5 December 2014 – 16 January 2015 Art Space Gallery http://www.artspacegallery.co.uk/ This exhibition features the work of four artists who have been engaged with etching, engraving and drypoint throughout their careers: Ann Dowker, John Kiki, Dolores de Sade and Michael Sandle.

“Witches and Wicked Bodies” 25 September 2014 – 11 January 2015 British Museum http://www.britishmuseum.org/whats_on/ exhibitions/witches_and_wicked_bodies.aspx This exhibition will examine the portrayal of witches and witchcraft in art from the Renaissance to the end of the 19th century. It will feature prints and drawings by artists including Dürer, Goya, Delacroix, Burne-Jones and Dante Gabriel Rossetti, alongside classical Greek vessels and Renaissance maiolica.

“Alibis: Sigmar Polke 1963–2010” 9 October 2014 – 8 February 2015 Tate Modern http://www.tate.org.uk/whats-on/tate-modern/ exhibition/alibis-sigmar-polke-1963-2010 In Munich: Terry Winters, Phasescape (2006), lithograph, 62.2 x 86.7 cm. Published by Universal The second stop for this comprehensive Limited Art Editions (ULAE), Bay Shore, New York. Courtesy the artist and ULAE, New York, Colby retrospective of Polke’s work across all media, College Museum of Art, Gift of the artist, inv. 2007.015. Photography: ULAE ©Terry Winters. including painting, photography, film, drawing, print and sculpture.

Georgetown Art Center LOS ANGELES BREMEN, GERMANY http://www.georgetownartcentertx.org/calendar/ “World War I: War of Images, Images of War” “Virtuoso Imitated: The Master Engravings of jeffrey-dell-cassie-white/ 18 November 2014 – 19 April 2015 Hendrick Goltzius (1558-1617)” Getty Research Institute 3 December 2014 – 1 February 2015 http://www.getty.edu/research/exhibitions_events/ Kunsthalle Bremen LA LOUVIÈRE, BELGIUM exhibitions/ww1/index.html http://www.kunsthalle-bremen.de/ “Luc Tuymans—Suspended” This exhibition examines World War I from two The art of the virtuoso engraver Hendrick 7 February – 10 May 2015 perspectives: the representation of the war in Goltzius oscillates between the poles of imitatio Centre de la Gravure et de l’Image imprimée propaganda, and the depiction of war by artists and aemulatio, between imitation and emulation. http://www.centredelagravure.be/ who experienced it firsthand. Goltzius was capable of reproducing the methods This exhibition will present Tuymans’ print work and styles of such famous predecessors as from 1989 to the present. “Louise Nevelson in L.A.: Tamarind Workshop Albrecht Dürer, Lucas van Leyden and Cornelis Lithographs from the 1960s” Cort—and even of composing new engravings 17 January – 17 May 2015 LISBON, PORTUGAL in their respective manner, thereby putting the Los Angeles County Museum of Art “Honey, I rearranged the collection… by artist. expertise of the public to the test. http://www.lacma.org/ Posters from the Lempert Collection (chapter This installation of works from LACMA’s 1 / part 1)” collection features a selection of lithographs CANBERRA, AUSTRALIA 1 November 2014 – 15 March 2015 from a total of 42 works made by the artist at “Impressions of Paris: Lautrec, Degas, Daumier” Culturgest this historic print workshop during a period of 8 November 2014 – 15 March 2015 http://www.culturgest.pt/arquivo/2014/expos/ unprecedented artistic innovation. National Gallery of Australia querido.html And: http://nga.gov.au/Impressions/ The show features posters by Jean Dubuffet, Claes “Ernst Barlach: Portfolios” Featuring over 150 prints, posters, drawings and Oldenburg, Ben Vautier, Allan Kaprow, Robert 31 January – 12 June 2015 monotypes drawn from the Gallery’s collection, Rauschenberg, Andy Warhol, Richard Hamilton, The print portfolios of Ernst Barlach (1870–1938) this exhibition examines the role of each artist in Dieter Roth, Ellsworth Kelly, Dan Flavin, Sol embody the mystical and visionary aspirations the development of 19th-century art in France— LeWitt, Marcel Broodthaers, Hanne Darboven, of the Expressionist generation. This exhibition their influence and their originality. Richard Tuttle, Lawrence Weiner and others. presents around 50 prints and books selected from Barlach’s plays as well as his illustrations ESSEN, GERMANY LONDON for writings by Reinhold von Walter and Johann “ ‘You too will eventually come into fashion’— “Christiane Baumgartner: Totentanz” Wolfgang von Goethe. Posters by Martin Kippenberger” 21 November 2014 – 24 January 2015 18 October 2014 – 18 January 2015 Alan Cristea Gallery MAINZ, GERMANY Museum Folkwang http://alancristea.com/ “Matt Mullican. Books Representing Books” http://www.museum-folkwang.de/en/exhibitions/ The artist’s third solo exhibition at the gallery 21 November 2014 – 22 February 2015 future-exhibitions/martin-kippenberger.html presents three new bodies of work: Totentanz Kunsthalle Mainz The posters created by Martin Kippenberger (Dance of Death), Deep Water and Wald bei Colditz http://www.kunsthalle-mainz.de/en/ (1953–1997) for his own exhibitions represent a (Wood near Colditz). The first retrospective of Mullican’s extensive core aspect of his multimedia output and artistic And: work with notes, sketches and prints. vision. “20th Anniversary Exhibition” 28 January – 14 February 2015 MINNEAPOLIS GEORGETOWN, TX And: “Prints on Ice” “Jeffrey Dell and Cassie White” “Richard Long—The Spike Island Tapes” 5 December 2014 – 17 January 2015 19 December 2014 – 24 January 2015 20 February – 2 April 2015 Highpoint Center for Printmaking

52 Art in Print January – February 2015 http://www.highpointprintmaking.org/ Department of Drawings and Prints at the An exhibition of prints by 36 members of the Metropolitan Museum since 1993; he will be Highpoint studio cooperative. stepping down in early 2015.

MUNICH PARIS “Terry Winters: Graphic Work 1999–2014” “Claude Rutault: Prints 1973–2013” 18 December 2014 – 1 March 2015 9 January 2015 – 7 March 2015 Pinakothek der Moderne mfc-michèle didier gallery http://www.pinakothek.de/en/kalender/2014-12-18/ http://www.micheledidier.com/ 49061/terry-winters-das-druckgraphische- Printed work by the artist, including posters, werk-1999-2014 catalogs, books, booklets and invitation cards. A retrospective of Winters’ work in print over the last 15 years. PHILADELPHIA “Denise Bookwalter: The Knitter’s Hand and NEW YORK the Telegrapher’s Fist” “Learn to Read Art: A Surviving History of 23 January – 28 March 2015 Printed Matter” The Print Center 12 December 2014 – 14 February 2015 http://www.printcenter.org/ 80WSE gallery New York University http://printedmatter.org/events/275 PITTSBURGH, PA This exhibition charts the organizational “Someday is Now: The Art of Corita Kent” history of the New York non-profit in relation 31 January – 19 April 2015 to the history of artists’ books and important Andy Warhol Museum movements in contemporary art from the 1970s http://www.warhol.org/ to the present, encompassing the alternative This exhibition is the first full-scale survey space movement, downtown NYC counter- covering more than 30 years of work by the In New York: The Metropolitan Museum of Art, cultural scene and artist activism. American artist Corita Kent (1918–1986). Her Master of the Playing Cards, The Queen of thousands of posters, murals and signature Flowers (ca. 1435–40), engraving, 13 x 9.1 cm, “The Left Front: Radical Art in the screenprints reflect a combined passion for faith from “Paper Chase: Two Decades of Collecting ‘Red Decade,’ ” 1929-1940” and politics. Drawings and Prints.” 13 January – 4 April 2015 Grey Art Gallery, New York University RICHMOND, VIRGINIA http://www.nmwa.go.jp/en/exhibitions/2014 http://www.nyu.edu/greyart/ “Miwako Nishizawa: Twelve Views of Virginia” nederlanden.html Organized by the Mary and Leigh Block Museum 15 November 2014 – 29 March 2015 Allegorical prints created in the late 16th and of Art at Northwestern University, this exhibition Virginia Museum of Fine Arts early 17th century by artists such as Hendrik highlights work produced by American artists http://vmfa.museum/ Goltzius and Jan Saenredam. amid the economic and social devastation of the A series of woodcuts in the shin-hanga style Great Depression. commissioned by collectors René and Carolyn Balcer. TOLEDO, OH “Tactility and Texture” And: “Drawn, Cut & Layered: The Art of 10 December 2014 – 8 February 2015 “Water and Shadow: Kawase Hasui and Werner Pfeiffer” Lower East Side Printshop Japanese Landscape Prints” 6 February – 3 May 2015 http://www.printshop.org/web/home.html 15 November 2014 – 29 March 2015 Toledo Museum of Art Curated by Hyperallergic’s Metro Editor This exhibition presents a selection of Japanese http://toledomuseum.org/ Benjamin Sutton, this exhibition features work woodblock prints—as well as paintings and Nearly 200 artists books, dimensional prints, by Xinyi Cheng, Ivan Forde, Shadi Harouni, Ali didactic material—that explore the early work of collages and experimental works on paper. Medina and Sarah Smith. Japanese landscape artist Kawase Hasui. VEVEY, SWITZERLAND “Paper Chase: Two Decades of Collecting “La Passion Dürer” Drawings and Prints” SAN FRANCISCO, CA “Absence and Presence: A Printmaking 30 October 2014 – 1 February 2015 9 December 2014 – 16 March 2015 Musée Jenisch Vevey Metropolitan Museum of Art Response to the Bombing of Al-Mutanabbi Street” http://www.museejenisch.ch/eng/actualite http://www.metmuseum.org/exhibitions/ Twenty-five years after its inauguration at the listings/2014/paper-chase 12 December 2014 – 25 January 2015 San Francisco Center for the Book Musée Jenisch Vevey, the Cabinet cantonal des This exhibition pays tribute to curator George estampes presents a celebration of one of the R. Goldner, Drue Heinz Chairman of the https://sfcb.org/exhibitions/absence-and-presence The Al-Mutanabbi Street print project turns to leading figures in the history of prints. letterpress broadside artists and now to book artists to support the people of Al-Mutanabbi VIENNA Street in Baghdad, where a car bomb tore “Jasper Johns: Regrets” through this ancient booksellers street. 13 January – 26 April 2015 Belvedere Palace and Museum SAN JOSE, CA http://www.belvedere.at/en/ausstellungen/ “Bruce Conner: Somebody Else’s Prints” ausstellungsvorschau/jasper-johns-e183995 31 January – 9 May 2015 Originally organized by MoMA, this exhibition San Jose Institute of Contemporary Art shows the artist’s most recent body of work in http://sjica.org/exhibitions_and_programs.html painting, drawing and print. An examination of Conner’s work as a printmaker featurine rarely seen examples from the Conner Auctions Family Trust and private collections. LONDON TOKYO Evening & Day Editions In Toledo: Werner Pfeiffer, Green Diagonal “Netherlandish Allegorical Prints” 22 January 2015 (1980), dimensional print: intaglio, die-cut and 7 October 2014 – 12 January 2015 Phillips collage, 11 x 14 inches. Property of the artist. National Museum of Western Art https://www.phillips.com/calendar

Art in Print January – February 2015 53 Impressionist/Modern Works on Paper Wilhelm Rudolph: Das Phantastischste ist Other News 5 February 2015 die Wirklichkeit. Malerei und Holzschnitte Christie’s (The Fantastic is the Reality. Paintings and George Goldner Steps Down as Head of http://www.christies.com/ Woodcuts) Metropolitan’s Drawings and Prints; Edited by Dresden Municipal Gallery and Nadine Orenstein Appointed as Replacement NEW YORK Museum Spendhaus Reutlingen. Texts by Ralf The Metropolitan Museum of Art has announced Prints & Multiples God Schlich, Martin Schmidt and Johannes that after 21 years, George R. Goldner will step 12 February 2015 Schmidt down as Drue Heinz Chairman of the Depart- Christie’s 160 pages, 191 color and 45 b/w illustrations ment of Drawings and Prints at the end of http://www.christies.com/ Published by Kerber Verlag, Bielefeld, Germany, January 2015. Nadine Orenstein will take over 2014 the position on 1 February. Vintage Posters £34. 12 February 2015 19th & 20th Century Prints & Drawings 5 March 2015 Swann Auction Galleries http://www.swanngalleries.com/

Events

AUSTIN, TX George Goldner, Drue Heinz Chairman of PrintAustin the Department of Drawings and Prints at the 15 January – 15 February 2015 Metropolitan Museum, to step down in 2015. http://printaustin.org/ Photo: Metropolitan Museum of Art. This month-long event will include juried print exhibitions, artist talks, signings, panels and In the course of his tenure at the museum, printmaking demonstrations at several Austin La Passion Dürer Goldner supervised some 8,200 acquisitions, galleries and venues. Edited by Laurence Schmidlin, texts by A. Blanc, an achievement celebrated in the Met’s current B. Böckem, F. Elsig, C. Jaquier, F.-R. Martin, N. “Paper Chase” exhibition. Of his successor Gold- New Books Minder, Ch. Müller, D. Radrizzani, F. Rodari, B. ner commented: “Nadine is one of the truly great Rossier, Ch. Rümelin, L. Schmitt and P. Vaisse curators I have worked with in my career. She is Eduardo Chillida. Boundaries slip away: 624 pages, 250 illustrations the perfect person to lead the department over Early Prints Published by Le Musée Jenisch–Cabinet cantonal the next decades.” Edited by Astrid Ihle and Reinhard Spieler. des estampes, Vevey, and 5 Continents Editions, Among the many exhibitions Goldner helped Preface by Reinhard Spieler. Text by Astrid Ihle Milan, 2014 organized at the Met, were shows on the draw- 56 pages, 36 color and 4 b/w illustrations CHF59. ings of Fillippino Lippi (1997) and Bronzino Published by Kerber Verlag, Bielefeld, 2014 (2010), as well as the recent “Bartholomeus €20. Spranger: Splendor and Eroticism in Imperial Prague” (2014). Educated at Columbia and Prince- ton, he worked at the Getty before coming to the Met. He will now act as as an advisor to the collector Leon Black, and will continue to be a consultant to the museum.

Chen Haiyan: Carving the Unconscious Edited and with introduction by Britta Erickson. Edward Ruscha. Catalogue Raisonné of the Text by Abby Chen, Chen Haiyan, Britta Nadine Orenstein of the Metropolitan Museum. Works on Paper, Volume 1: 1956–1976 Erickson, et al. Interview by Britta Erickson, Photo: Metropolitan Museum of Art. Edited by Lisa Turvey with a contribution by Maya Kóvskaya, Craig L. Yee Orenstein has been a curator at the Met since Harry Cooper 160 pages, color illustrations 1993 and is in charge of Dutch, Flemish and Ger- 452 pages, 1,036 color and 16 b/w illustrations Published by Ink Studio, Beijing, 2015 man prints and books through the 19th century. Published by Yale University Press, New Haven, $45. A Barnard alumna, she earned her PhD at the CT, 2014 Institute of Fine Arts at New York University $200. with her dissertation “Hendrick Hondius and the Business of Prints in Seventeenth-Century Hol- land.” Her exhibitions include “Pieter Bruegel the Elder: Drawings and Prints” (2001), “Hen- drick Goltzius: Prints, Drawings and Paintings” (2003), and most recently, “Infinite Jest: Carica- ture and Satire from Leonardo to Levine” (2011).

Nicola Lees appointed curator of the 31st Biennial of Graphic Arts in Ljubljana The International Centre of Graphic Arts in Lju- bljana announced the appointment of Nicola Lees as curator of the 31st Biennial of Graphic Arts in Ljubljana (28 August – 3 December 2015). Lees has curated Frieze Projects since 2013, and was pre-

54 Art in Print January – February 2015 viously at the Serpentine Gallery, London. The Call for Proposals: SNAP 2015 2015 biennial, titled “Over you/you”, is described SNAP 2015, the 3rd International Printmaking as “tak[ing] its starting point from a scribble in Symposium Bentlage will take place in October the corner of one of Martin Kippenberger’s draw- 2015 at Kloster Bentlage in Rheine, Germany. ings, and will bring together traditional, and not The theme of the symposium, which will be con- so traditional, forms of graphic art production, ducted in English, is “Kunstraum Druckgrafik: posing them as sites within which political and Printmaking in Other Forms of Art.” Presenta- aesthetic agency find common ground.” tions will include lectures, panel discussions and demonstration workshops. The deadline for pro- New York Print Week posals is March 15, 2015. For more information, New York Print Week, which featured multiple please visit http://www.snap2015.de. art fairs, exhibitions and events, ended on 9 November. The International Fine Print Deal- ers Association (IFPDA) Print Fair reported high New Publishing Company: sales and 9,500 visitors—a 15% increase from Ferrario International Printing 2013. The IFPDA’s annual Richard Hamilton Involving artists from around the world, Fer- Acquisition Prize was awarded to Oregon’s Port- rario’s collaborative enterprise producing post- land Art Museum (the award provides $10,000 cards is based in two traditionally industrial to fund a museum purchase at the fair). The cities: Holyoke, Massachusetts, and Rho, Italy. Editions/Artists’ Books (E/AB) Fair returned for So far, published postcards have featured work its 16th installment and drew a steady crowd of by Ann Agee, Frieda Dean, Sheila Pepe, Alexandra over 6,000 people over the course of three days. Hopf and Paola Ferrario. The New York Satellite Print Fair and Prints Gone Wild Fair in Brooklyn also drew large turn- Call for Applications: Wolfgang Ratjen Award outs. The “Beyond Connoisseurship: Rethink- The Wolfgang Ratjen Award is an annual award ing Prints from the Belle Épreuve (1875) to the for distinguished research in the field of graphic Present” Conference and a huge number of gal- arts. Consideration will be given to a PhD dis- lery and museum exhibitions around the city sertation, MA thesis or scholarly article of larger rounded out the events for the week. scope dealing with art historical questions which involve drawings or prints in Western art. The winning candidate, chosen by an independent committee of scholars, will receive €5,000, and is expected to spend three months conduct- ing research at the Zentralinstitut für Kunst- geschichte in Munich. The deadline for applications is 6 March 2015. Please visit http://www.zikg. eu/aktuelles/nachrichten/wolfgang-ratjen-preis- 2015-ausschreibung-applications-invited for more information.

Art in Print Receives National Endowment for the Arts Grant National Endowment for the Arts (NEA) Chair- man Jane Chu has announced that Art in Print is one of 919 nonprofit organizations nationwide to receive an NEA Art Works grant. Art Works grants support the creation of art, public engagement with art, lifelong learning in the arts, and enhancement of the livability of communities through the arts. The grant to Art in Print will help support the publication of the Art in Print journal and its mission of returning the printed image to the center of the global conversation about art, culture and society. New York Print Week 2014 featured the The NEA received 1,474 eligible applications IFPDA Print Fair at the Armory and the return under the Art Works category, requesting more of the E/AB Fair in Chelsea. Photo above: than $75 million in funding. Of those, 919 have J. Bernatz. Photo below: Dana Johnson. been recommended for grants for a total of $26.6 Subscribe to million. For a complete listing of projects recommended for Art Works grant support, please visit Art in Print the NEA website at http://arts.gov/. for as little as $38 per year.

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60 Art in Print January – February 2015 Print Fair! Join us for a unique celebration of fine prints one weekend only at the Portland Art Museum We are excited to announce the 2nd Portland Fine Print Fair in the Portland Art Museum’s historic Fields Ballroom! Thousands of etchings, engravings, woodcuts, lithographs and screenprints dating from 1500 to the present will be on hand from 19 important print galleries in North America, Ireland and Japan. These knowledgeable art dealers welcome your questions, offering an exciting opportunity for both novice and expert collectors to peruse and purchase original museum-quality prints for their collections!

Preview: Friday, January 30, 6-9 pm ($25 Museum members, $35 Advance, $45 at-door) Free Admission Fair Hours: Saturday, January 31, 10am-6pm Sunday, February 1, 11am-5pm www.portlandfineprintfair.com Contributors to this Issue The Art in Print Prix de Print Brian D. Cohen is an educator, writer, printmaker and painter. He founded Bridge Press in 1989 to further the association and integration of visual image, original text and book structure. His books and etchings are held by major private and public collections throughout the country, and he was the first-place winner of three major international print competitions. His essays on arts education are Deadline: a regular feature of the Arts and Culture section of the Huffington Post. 15 January 2015 Paul Coldwell is Professor in Fine Art at the University of the Arts London. As an artist his work includes prints, sculpture and installation. He has written widely, particularly on printmaking and is The Prix de Print is a bimonthly, the author of Printmaking: A Contemporary Perspective from Black Dog Publishers. juried competition open to all Art in William Cole is an expert in art and rare book connoisseurship. His most recent books are a bibliog- Print subscribers. raphy of first editions of Medieval French texts and a catalogue raisonné of the illustrated books and print portfolios of Masafumi Yamamoto. His scholarly articles, reviews, and notes appear regularly in The winning work of art, selected by an Print Quarterly and other scholarly journals. outside juror, is given a full-page repro- Laurie Hurwitz is a curator at the Maison européenne de la photographie in Paris, France. She has duction and is discussed in a brief essay. written on art and design for Art & Auction, frieze, Metropolis, Aperture, Sculpture, Revue Dada and The jurors are artists, curators and other Connaissance des arts. She is Paris correspondent for ARTnews magazine. experts in the field. Diana Ewer is a New York-based curator, consultant and contemporary print specialist. She is founder and U.S. director of the London-based dealer and publisher TAG Fine Arts. Who can enter? Anyone with an active subscription to Robert Fucci is a David E. Finley fellow at the Center for Advanced Studies in the Visual Arts (CASVA), Washington, and a PhD candidate in the Department of Art History and Archaeology at Columbia Art in Print can enter. We can accept University, New York. He is currently working on a dissertation, “Jan van de Velde II (ca. 1593–1641): one submission per subscription per The Printmaker as Creative Artist.” He is curating an exhibition examining the most dramatic state issue. The subscriber can be an artist, changes in early impressions of Rembrandt prints drawn from American collections, “Rembrandt’s Changing Impressions,” at Columbia’s Miriam and Ira D. Wallach Art Gallery, New York (9 Septem- publisher, printshop, gallery or other ber–12 December 2015). organization.

is curator of Italian, French and Spanish art before 1800 at the Kupferstichkabi- Dagmar Korbacher How do I submit? nett of the State Museums in Berlin. Before joining the museum in 2010, she worked at the National Museums in Berlin, Christie’s in Amsterdam, the Germanisches Nationalmuseum in Nuremberg and Send a high-resolution digital image to the university of Eichstätt, where she earned her PhD in 2005 with a dissertation on Arcadian imag- [email protected], along with docu- ery before Giorgione. Her exhibitions at the Kupferstichkabinett include “Arcadia—Paradise on Paper. mentation of the work* and the email Landscape and Myths in Italy” (2014); “On the edge of reason. Print series in the age of enlightenment” (2012); “The connoisseur in the museum: Max J. Friedländer” (1867–1958) (2008). address associated with the subscription in the body of the email. (Do not send is the Vice President for Community Engagement at the Allentown Art Museum Elaine Mehalakes PDF attachments.) Details can of the Lehigh Valley. Her interests as a curator and writer include the confluence of poetry and art, and the influence of travel on creativity. be found under the “About Us” tab at www.artinprint.org. Ulrich Pfisterer teaches art history at the Ludwig-Maximilians-Universität in Munich. He holds degrees from the universities of Göttingen (1997) and Hamburg (2006). His interests encompass the Deadlines: fields of early modern art in Europe as well as the methodology and historiography of art history. He has published books on, among others, Donatello, art literature and theory in the Italian Renaissance, Deadlines will be the 15th of every the social uses of Renaissance medals in Italy, the Sistine Chapel and “birthing art,” which deals with odd-numbered month: 15 January, 15 the relation of erotic concepts of procreativity and artistic creativity in early modern Europe. March, 15 May, 15 July, 15 September

Christian Rümelin read History of Art, History of Architecture and Modern History at Tübingen and and 15 November. Berne before becoming one of the editors of the Paul Klee catalogue raisonné (1998–2004). From 2002 he was Assistant Keeper at the Ashmolean Museum, Oxford, in charge of the European print collection *Please submit artist’s name, title of as well as 20th-century paintings, sculptures and drawings. Since 2008 he has been Keeper of Prints and Drawings at the Musées d’art et d’histoire in Geneva, which houses one of the most outstanding work, year, medium, dimensions, collections of prints produced after World War II. He has published extensively on various aspects of edition size, printer/publisher printmaking, both Old Masters and contemporary. information,

F. Carlo Schmid studied art history, archeology and history at the universities of Augsburg, Rome price and where and Berlin. After completing his PhD on landscape prints and drawings by Johann Christian Reinhart available. (1761–1847) in 1995, he trained in the Print and Drawings Department of the Staatliche Museen Kassel. From 1998 to 1999 he acted as research associate in the Ernst Barlach Foundation at Güstrow before PRIX joining C.G. Boerner at Düsseldorf as director early in 1999. His areas of expertise are art around 1800, de German expressionism and book art. PRINT

Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about prints, issues of multiplicity and authenticity, and other aspects of contemporary art.

62 Art in Print January – February 2015 Back Issues of Art in Print

Volume One / March 2011 – February 2012

Volume 1, Number 1 Volume 1, Number 2 Volume 1, Number 3 Volume 1, Number 4 Volume 1, Number 5 Volume 1, Number 6

Volume Two / March 2012 – February 2013

Volume 2, Number 1 Volume 2, Number 2 Volume 2, Number 3 Volume 2, Number 4 Volume 2, Number 5 Volume 2, Number 6

Volume Three / March 2013 – February 2014

Volume 3, Number 1 Volume 3, Number 2 Volume 3, Number 3 Volume 3, Number 4 Volume 3, Number 5 Volume 3, Number 6

Volume Four / March 2014 – February 2015

Volume 4, Number 1 Volume 4, Number 2 Volume 4, Number 3 Volume 4, Number 4

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