Feast and Famine 1 1 (American, 1918–1986) Printed Designs Image: 20 /2 X 15 /4 Etching Porcelain with Painted and Silk-Screened 31

Félix Bracquemond Aaron Fink Commissioned through New Deal art Camille Pissarro Cindy Sherman 62. Steaks, 99 cents, c. 1986 Checklist (French, 1833–1914) (American, born 1955) projects (French, born Danish West Indies, (American, born 1954) Screenprint; not editioned (few All dimensions are given in inches; height 5. Selection of dinnerware from the Service 22. Peach Ice Cream Cone, 2004 L43.6.103 1830–1903) 50. Tureen with cover and underplate, impressions known) 3 3 precedes width precedes depth. Rousseau, 1866–75 Color photolithograph; Gilkey Center 44. Marché aux légumes, à Pontoise Madame de Pompadour (née Poisson) sheet: 21 /4 x 14 /4 Sister Mary Corita Kent Handpainted earthenware with transfer- proof, aside from edition of 20 (Vegetable Market at Pontoise), 1891 pattern, 1990 Collection of Jordan D. Schnitzer Feast and Famine 1 1 (American, 1918–1986) printed designs image: 20 /2 x 15 /4 Etching Porcelain with painted and silk-screened 31. Fresh Bread, A Secret Agent, 1967 The Campbell’s Soup Company Glen Alps Various dimensions sheet: 30 x 22 image: 10 x 8 decoration; edition 14B/25 The Pleasures and Politics of Food Color screenprint; edition size unknown 5 1 1 1 After Andy Warhol (American, 1914–1996) Lent by Helen Jo and William Whitsell Gift of Mahaffey Fine Art, Print Workshop, 1 1 sheet: 12 /8 x 9 /2 underplate: 2 /2 x 14 /2 x 22 image: 14 /8 x 22 /4 3 (American, 1928–1987) 1. Ferry Boat Café, 1946 Portland 3 1 The Vivian and Gordon Gilkey Graphic tureen: 10 x 7 /4 x 15 Leonetto Cappiello sheet: 14 /8 x 23 /8 63. The Souper Dress, 1966–67 Lithograph; unnumbered edition of 10 2009.83.4 Arts Collection Museum Purchase; Funds provided by 7 (French, born Italy, 1875–1942) The Vivian and Gordon Gilkey Graphic Screen-printed tissue, wood pulp and image: 9 x 10 /8 79.50.633 Nani S. Warren and Katherine “Kitty” 3 6. Contratto, 1922 Claude Gadoud Arts Collection rayon mesh with binding tape; edition sheet: 12 x 12 /8 Bunn Color lithograph; large edition, size (French, 1905–1991) 86.13.573 45. La Charrue (The Plow), 1901 size unknown The Vivian and Gordon Gilkey Graphic 2009.15a–c unknown 23. Vins Camp Romain, 1925 Color lithograph 53 Wayne Thiebaud 38 x 22 Arts Collection; Gift of the artist 3 1 Käthe Kollwitz 7 1 image and sheet: 55 /8 x 39 /4 Color lithograph; edition size unknown image: 8 /8 x 6 /4 Wayne Thiebaud Collection of Jordan D. Schnitzer 93.40.12 (German, 1867–1945) 5 3 Promised gift of Daniel Bergsvik and image and sheet: 63 x 74 sheet: 9 /8 x 6 /4 (American, born 1920) 32. Bettelnde (Beggars), 1924 James Abbott McNeill Whistler Mario Avati Donald Hastler Promised gift of Daniel Bergsvik and Bequest of Charles Henry Leavitt 51. Lunch, from the suite Delights, 1964 Lithograph; edition size unknown 56. La Fillette nue, menu (The Naked Girl, (American, active in England and France, Donald Hastler 59.26.51 Etching; artist’s proof from edition of 100 (French, 1921–2009) 1 7 Menu), 1898 Enrique Chagoya image: 15 /8 x 9 /8 3 1834–1903) 2. The Alsatian Wine Bottle, 1957 1 image: 5 x 6 /4 (American, born Mexico, 1953) Robert Gober s h e e t : 12 /2 x 15 Henri Privat‑Livemont Lithograph; no edition (five known 64. The Wine Glass, 1858 Etching and aquatint; edition 1/2 sheet: 14 x 11 7. The Enlightened Savage, 2002 (American, born 1954) The Vivian and Gordon Gilkey Graphic (Belgian, 1861–1936) impressions) Etching; edition size unknown (41 known 5 7 Gift of the E. Mark Adams and 1 1 plate: 17 /8 x 23 /8 image: 8 /2 x 7 /2 7 Digital pigment prints wrapped around 10 24. Untitled (Fresh Pigs), 1993–94 Arts Collection 46. Absinthe Robette, 1896 impressions) sheet: 19 /8 x 26 Beth Van Hoesen Adams Trust 1 1 1 1 cans with silkscreened cardboard box; Color lithograph; edition 63/75 86.13.490 Color lithograph; edition size unknown sheet: 18 /2 x 1 1 /2 image: 3 /4 x 2 /8 The Vivian and Gordon Gilkey Graphic 1 1 5 2007.59.127 1 edition 14/40 image: 11 /4 x 11 image and sheet: 46 /4 x 32 /8 Private collection sheet: 6 x 4 /2 Arts Collection 1 33. Deutschlands Kinder hungern! (Germany’s stacked cans: 16 x 14 x 5 sheet: 12 /4 x 12 Promised gift of Daniel Bergsvik and 52. Delights, 1965 Gift of Ada A. Chipman 86.13.450 Children Are Starving!), 1924 Beth Van Hoesen box: 5 x 16 x 7 Collection of Jordan D. Schnitzer Donald Hastler Artists’ book with 17 prints, including 86.1.2 12 Adolf Dehn Lithograph; edition size unknown (American, 1926–2010) Frank Boyden Collection of Jordan D. Schnitzer 1 etching, etchings with aquatint, and 25. Untitled (Whole Pigs), 1993–94 image: 17 x 11 /4 Victor Prouvé 57. Cocktail Hour, 1946 Joe Wirtheim Adolf Dehn 17. Menu pour Ernest Rousseau (Menu for drypoint; edition of 100 (American, born 1942) 1 Lithograph; no edition 8. Pyramid Scheme, 2009 Color lithograph; edition 63/75 sheet: 21 /8 x 15 (French, 1858–1943) 1 3 3 (American, born 1978) 3. Menu: October 8, 2010, 2010 (American, 1895–1968) Ernest Rousseau), 1896 13 /2 x 11 /8 x /4 1 3 Digital pigment prints wrapped around 10 image: 21 x 11 The Vivian and Gordon Gilkey Graphic 47. Brasserie de Vézelise, 1914 image: 12 /2 x 9 /8 65. Break New Ground, 2007, printed 2013 12. Watermelon Eaters, 1945 Etching; edition size unknown Gift of Manuel Neri 1 5 Drypoint with watercolor and graphite; 3 sheet: 19 /8 x 12 /8 cans with silkscreened cardboard box; 1 1 sheet: 22 /8 x 12 Arts Collection Color lithograph; edition size unknown Color offset lithograph; unnumbered Lithograph; edition 10/12 plate: 7 /8 x 5 /4 2001.69 edition of approx. 5 1 Gift of the E. Mark Adams and edition 9/40 1 7 1 1 Collection of Jordan D. Schnitzer 85.14.365 image and sheet: 46 /2 x 62 edition of 500 image: 7 /2 x 9 /8 2 2 plate: 12 x 10 sheet: 11 / x 9 / Beth Van Hoesen Adams Trust stacked cans: 16 x 14 x 5 5 3 Promised gift of Daniel Bergsvik and 53. Candy Apples, 1987 image and sheet: 18 x 12 1 3 sheet: 9 /8 x 13 /4 Private collection sheet: 15 /2 x 12 /4 3 1 1 David Lance Goines Roy Lichtenstein 2007.60.13 box: 4 /4 x 16 /4 x 6 /2 Gift of Mrs. Adolf Dehn Donald Hastler Woodcut; edition 43/200 Courtesy of the artist and The Victory Gift of the artist in honor of Tom Firman (American, born 1945) (American, 1923–1997) 1 1 Collection of Jordan D. Schnitzer 18. La Gourmandise (Gluttony), from the image: 16 /2 x 15 /2 Garden of Tomorrow 2013.84.1 1999.8.16 26. Sauvez les poisons (Save the Fish), 1998 34. Sandwich and Soda, from the portfolio X Mel Ramos 58. Chinese Cabbage (Cabbage), 1960 series Les Péchés capitaux (The Deadly sheet: 24 x 23 Sue Coe Color lithograph; unnumbered edition + X (Ten Works by Ten Painters), 1964 (American, born 1935) Etching with roulette and drypoint; edition 66. Keep ’Em Flying, 2007, printed 2013 Cornucopia and Her Pestilential Sister— 44 Camille Pissarro 13. Sins), 1904 Lent by Ronna Hoffman 6/25 (English, active United States, born 1951) Famine, 1949 Etching with hand-coloring; edition size of 2,085 Screenprint on clear plastic; edition 48. Miss Fruit Salad, 1990 Color offset lithograph; unnumbered 1 7 7 9. Feed Lot, 1991 image and sheet: 24 x 17 /2 174/500 Color screenprint; edition 73/125 54. Cakes and Pies, 2006 plate: 9 /8 x 7 /8 edition of 500 Lithograph; edition 11/30 unknown 1 5 sheet: 14 /2 x 14 Lithograph; edition 6/100 7 1 3 3 Promised gift of Daniel Bergsvik and image: 19 x 23 36. Tea Service, 1984 40. Le Départ pour le travail (Leaving for sheet: 45 /8 x 38 Color direct gravure; edition 23/40 image and sheet: 18 x 12 image: 12 /8 x 17 /4 plate: 3 /4 x 5 /4 1 1 1 Gift of the E. Mark Adams and image: 18 /8 x 16 /8 7 3 7 Donald Hastler sheet: 20 x 24 Set of 21 glazed ceramics in custom- Work), 1863 Collection of Jordan D. Schnitzer image: 22 x 18 /4 Courtesy of the artist and The Victory sheet: 16 /8 x 21 sheet: 6 /8 x 9 /8 1 1 1 Beth Van Hoesen Adams Trust sheet: 22 /2 x 16 /8 Gift of Mrs. Adolf Dehn Private collection Collection of Jordan D. Schnitzer made box; artist’s proof, aside from Etching sheet: 30 x 25 /2 Garden of Tomorrow 27. Chez Panisse: Grow What You Eat, 2008 1 1 Nelson Sandgren 2007.60.70 Museum Purchase; Funds provided by 1999.8.380 edition of 100 plate: 15 /4 x 12 /8 Collection of Jordan Schnitzer Family Color lithograph; unnumbered edition 35. Still Life with Windmill, from the series Six 5 3 1 (American, 1917–2006) Diane and Richard Lowensohn Bob Evans box: 20 x 26 x 7 /8 sheet: 19 /4 x 16 /8 Foundation of 1,253 Still Lifes, 1974 49. The Winemaker, 1960/70 59. Lunch, 1965 2013.123.1 James Ensor (Welsh, born 1947) Collection of Harsch Investment Property Gift of Mrs. George Ware in memory of image and sheet: 24 x 15 ¼ Color lithograph and screenprint with Lithograph; edition 18/20 Henri de Toulouse‑Lautrec Etching and aquatint with open bite; (Belgian, 1860–1949) 19. Late Dinner, 1988 Management her husband, George Ware 7 3 10. Standing Pig, 1993 Promised gift of Daniel Bergsvik and de‑embossing; edition 62/100 image: 21 /8 x 16 /8 (French, 1864–1901) edition 4/35 14. Menu pour Charles Vos (Menu for Charles Lithograph; edition 36/100 66.10 1 5 1 1 1 plate: 8 /8 x 7 /8 Etching; edition 3/18 1 Donald Hastler image: 29 /4 x 38 /8 Jean‑François Millet sheet: 30 x 22 /8 55. La Modiste, Renée Vert, menu (The This exhibition is organized by the Portland Art Vos), 1896 image: 8 x 12 /8 7 1 3 7 1 sheet: 12 /8 x 12 /8 image: 9 x 11 /4 1 sheet: 35 /8 x 44 /8 (French, 1814–1875) Claes Oldenburg The Vivian and Gordon Gilkey Graphic Milliner, Renée Vert, Menu), 1893 Museum and curated by Mary Weaver Chapin, Etching; edition size unknown sheet: 12 /8 x 16 7 7 George Grosz Gift of the E. Mark Adams and sheet: 14 /8 x 2 1 /8 1 1 Collection of Jordan Schnitzer Family 37. Les Glaneuses (The Gleaners), 1855 (American, born Sweden, 1929) Arts Collection Lithograph; edition size unknown (few Ph.D., Curator of Graphic Arts; it is supported plate: 6 /8 x 4 /4 The Vivian and Gordon Gilkey Graphic (German, 1893–1959) Beth Van Hoesen Adams Trust Museum Purchase; Funds provided by 7 Foundation Etching 41. Alphabet in the Form of a Good Humor 80.122.65 impressions) in part by the Vivian and Gordon Gilkey sheet: 7 /8 x 7 Arts Collection 28. Geselligkeit (Dinner Party), 1929 1 1 1 2007.60.469 the son of a Union Butcher Private collection 1997.228.321 plate: 7 /2 x 10 Bar, 1970 image: 12 /4 x 8 /2 Endowment for Graphic Arts and the Exhibition Graphite and ink 1 1 1 2013.123.2 sheet: 8 /4 x 13 Color lithograph; edition 174/250 sheet: 21 /2 x 12 /2 Series Sponsors. 1 5 Andy Warhol Menu pour Charles Vos (Menu for Charles 18 /4 x 23 /8 15. Philip Evergood The Vivian and Gordon Gilkey Graphic sheet: 29 x 20 Private collection (American, 1928–1987) Warrington Colescott Vos), 1896 (American, 1901–1973) Museum Purchase; Ella M. Hirsch Fund Arts Collection Gift of Mr. Ronald Shindler and Mr. Lowell 60. Piglet, from Wild Raspberries by Andy (American, born 1921) Etching with brown ink; edition size 38.48 20. Still Life, 1944 80.122.514 Shindler Warhol and Suzie Frankfurt, 1959 11. Suite Louisiana: Down Tchoupitoulas unknown Lithograph; edition of 200 David Hockney 81.107.2 Lithograph with watercolor; edition size Cover: Street (Chef Emeril), 1996 1 1 1 1 38. La Baratteuse (Woman Churning Butter), plate: 6 /8 x 4 /4 2 4 image: 11 / x 16 / (English, active United States, born 1937) unknown 34 Roy Lichtenstein 4 Frank Boyden and Margot Voorhies Thompson Soft‑ground etching, aquatint, and 7 3 3 3 1855–56 42. Profiterole, 1990 sheet: 7 /8 x 5 /4 sheet: 12 /4 x 18 /4 1 1 29. Menu—2nd January 1980, 1980 sheet: 17 /2 x 22 /2 spit‑bite aquatint, with vibrograver, à la Private collection Gift of Mrs. Yeffe Kimball Slatin Etching Color lithograph; edition 15/57 Frank Boyden Color offset lithograph; edition size 3 1 Collection of Jordan Schnitzer Family poupée inking, and relief rolls through 51.226 plate: 7 x 4 /4 sheet: 31 /4 x 41 (American, born 1942) unknown 1 7 16. Menu pour Charles Vos (Menu for Charles sheet: 8 /2 x 5 /8 Collection of Jordan D. Schnitzer Foundation stencils, printed in color; state iii proof 3 7 Margot Voorhies Thompson Vos), 1896 sheet: 18 /4 x 12 /8 (sight) before edition of 80 Mary Fedden Bequest of Charles Henry Leavitt 61. Torte á la Dobosch (Dobosch Torte) from January 11 – May 4, 2014 (American, born 1948) 3 3 Collection of Pamela Berg Pablo Picasso plate: 17 /4 x 23 /4 Etching with watercolor; edition size (British, born 1915) 59.26.47 4. Menu du 13 Septembre 2007 (Menu of (Spanish, active France, 1881–1973) Wild Raspberries by Andy Warhol and 1 unknown Ginger Beer Bottle, 1971–72 sheet: 22 /2 x 30 21. Thomas Richard Hood Suzie Frankfurt, 1959 13 September 2007), 2007 1 1 39. La Bouillie (Gruel), 1861 43. Le Repas frugal (The Frugal Repast), from plate: 6 /8 x 4 /4 Gift of the artist Color lithograph on paper; edition 6/70 (American, 1910–1995) Lithograph with watercolor; edition size Drypoint with watercolor and ink; edition 1 3 1 1 Etching Suite des Saltimbanques, 1904 sheet: 11 /4 x 9 /8 image: 16 /8 x 22 /2 2001.57.4 30. Dinner Time, 1935/42 5 1 unknown 31/35 7 plate: 6 /8 x 5 /8 Etching with scraper; edition of 250 Private collection sheet: 20 /8 x 27 1 5 3 Etching; edition size unknown 1 1 7 sheet: 17 /8 x 11 plate: 11 /8 x 7 /4 The Herbert and Nancy Bernhard sheet: 10 x 6 /2 plate: 18 /4 x 14 /8 image: 8 x 7 1 7 sheet: 14 x 10 The Vivian and Gordon Gilkey Graphic sheet: 25 /2 x 19 /8 Collection of Jordan Schnitzer Family 3 1 Collection sheet: 10 /4 x 8 /2 Gift of Frank Boyden Arts Collection Courtesy of John Szoke Gallery, New York Foundation 87.44.7 Allocated by the U.S. Government, Portland Art Museum, Oregon 2007.72 78.52.679 43 Pablo Picasso 50 Cindy Sherman the etchings of the pre-Impressionist peintre-graveur Jean- further suggests that this is not an ordinary party. For a touch. Leonetto Cappiello used a similar, although more Mary Corita Kent advanced food as a catalyst for change in fellow Portlanders with posters inspired by the classic and François Millet. Les Glaneuses (The Gleaners) depicts three private dinner in 2007, to celebrate the opening of a gallery modest approach, in his poster for Contratto, in which a her screenprint of 1967, Fresh Bread, A Secret Agent, where designs of World War I victory-garden broadsides to plant Feast Famine women stooped over a recently harvested field to collect exhibition featuring works by both Ensor and Oregon artist young woman holds up an oversized glass of champagne. she muses, “What kind of a revolution would it be if all the urban gardens and raise chickens. Traveling a broad course The Pleasures and Politics of Food grain left behind, an age-old right of widows and destitute Frank Boyden, calligrapher Margot Voorhies Thompson and Indeed, artists frequently mix food and sex into a potent people in the whole world would sit around in a circle and from the field workers of Millet to the fast-food abundance peasants that dates back to biblical times. Millet captures Boyden reinterpreted this menu, replete with an image of visual cocktail, inflaming one sense by fanning another, an eat together?” of the Pop artists, people are returning to a local, sustainable their fatigue and contrasts the meager holdings of the peas- the head of James Ensor on a platter. effect perfectly and ironically captured by contemporary Today, artists are deeply engaged with the politics and model of eating. Feast and Famine offers a look at the plea- ant women to the bountiful harvest behind them, creating The food and, especially, the beverage industries were American artist Mel Ramos in Miss Fruit Salad from 1990. production of food. Sue Coe advocates for a vegan diet sures and politics of food, one bite at a time. an image that addresses both the plight of the poor and among the top commissioners of color posters when they Ramos’s sensibilities are shaped by the Pop move- and champions the rights of animals in work such as Feed the politics of abundance.1 Despite their ungainly postures, emerged as the most prominent advertising medium in ment, which elevated everyday objects to the realm of the Lot and Standing Pig, recent acquisitions of the Portland Art —Mary Weaver Chapin, Ph.D. the women bear a sense of dignity, a feature again found in the 1890s. Brightly colored, these lithographic posters were monumental. Traditionally, still life was considered a minor Museum. Poster artists, too, sound the call to action, as in Curator of Graphic Arts Millet’s La Baratteuse (Woman Churning Butter), in which plastered across the major cities of Europe well into the genre, but in the hands of Pop artists, it was renewed in David Lance Goines’s Sauvez les poisons (Save the Fish) and the simplified setting, monumentality of the young peasant twentieth century. Bold images like Henri Privat-Livemont’s innovative and often humorous ways:2 Claes Oldenburg Grow What You Eat. Here in the Pacific Northwest, where woman, and dramatic lighting elevate this daily task to the 1 Alexandra R. Murphy, ed., Jean-François Millet: Drawn Into the Light (Williamstown, MA: Sterling and Francine Clark Absinthe Robette enticed the urban bourgeoisie to indulge morphed a towering ice cream bar into an edible alphabet, residents enjoy a bounty of local and organic produce, meat, Art Institute, 1999), p. 81. realm of the iconic. A generation later, Impressionist Camille 2 John Wilmerding, The Pop Object: The Still Life Tradition in Pop Art (New York, NY: Acquavella Gallery and Rizzoli, in the pleasures of absinthe, a strong hallucinogenic liqueur Andy Warhol turned banal soup cans into wearable art, and and wine, graphic artist Joe Wirtheim encourages his 2013), p. 11. Pissarro honored agricultural labor, from the preparation of with a beautiful green color. Privat-Livemont made the Roy Lichtenstein completely transformed an ordinary tea the fields in La Charrue (The Plow) to the presentation of beverage even more enticing by depicting a lightly draped, service by using his graphic, Ben-Day dot style to create the produce at market in Marché aux légumes, à Pontoise comely young woman offering up the drink, thereby link- a three-dimensional expression of his prints and paintings. (Vegetable Market at Pontoise). Pissarro here also highlights ing the enjoyment of drinking with the sensual pleasure of Wayne Thiebaud has turned his gaze to the still life as well. the social interactions in the lively market, where food is the However, he eschews the Pop aesthetic of smooth, glossy catalyst that brings people together. surfaces for a more tactile approach, evident in the rich burr Moving from the fields to the market and thence to the of his drypointed lines in Delights, an album of seventeen table, Feast and Famine enters the private realm of dining. intaglio prints. Thiebaud often worked beside his colleague and friend Beth Van Hoesen, whose own portraits of food share a graceful linear quality. Pop artists focused on the actual foodstuffs, while other artists have examined the people at the meal and the social

6 Leonetto Cappiello atmosphere that surrounds them. George Grosz encapsu- lated the corruption and decadence of Weimar Germany in At the turn of the nineteenth century, artists including Henri his drawing Geselligkeit (Dinner Party), in which nine diners de Toulouse-Lautrec used their talents to create menus for engage in conversation around a table loaded with delica- feasts, public and private. Toulouse-Lautrec was as pas- cies. Adolf Dehn later delineated the lively chatter of two sionate about food as he was his art and produced menus middle-class ladies in Watermelon Eaters. Philip Evergood’s on commission for clients, including the artists’ group the Still Life focuses instead on the gulf of silence separating an Société des Indépendants. For them Lautrec created a stylish affluent couple, and in Glen Alps’s Ferry Boat Café, there is 37 Jean‑François Millet menu card, La Modiste, Renée Vert, picturing a pert milliner no escaping the isolation of the commuting diners. at work. Around the same time, Belgian artist James Ensor Social isolation prevails, as well, in the young Pablo was busy creating a menu for his friend and cabaret owner Picasso’s Le Repas frugal (The Frugal Repast), among As one of humanity’s fundamental needs, food is a constant bounty and wealth of a society. Feast and Famine explores Charles Vos, seen in this exhibition in three versions: a first the most iconic representations of the despair of hunger. across cultures and centuries. More than daily sustenance, food-related themes—from the fields to the table, and from state before text, a state with the handwritten menu, and Although not produced as a political statement, it shares the food is a social lubricant, a focal point for celebrations, a the profound to the humorous—in the graphic arts since 1850. an impression with hand-coloring. Ensor’s caustic humor power one sees in the work of Käthe Kollwitz, a graphic artist bearer of cultural meaning, and a sensual delight. Its scarcity For most of human history, sustenance has gone hand in is evident in his depiction of the party revelers, who arrive and activist who turned her attention to the least fortunate causes wars, its production ignites debate, and its sale and hand with hard physical labor, a concept that is easily forgot- carrying fish, pigs, and chickens. Other guests have already in German society. Bettelnde (Beggars) and Deutschlands distribution have spawned complex networks of industry and ten in the twenty-first century, where consumers are largely overindulged and can be seen in the ramparts vomiting Kinder hungern! (Germany’s Children Are Starving!) were advertising. It is not surprising, then, that artists have engaged divorced from the sources of their food. In this exhibition, and defecating on those below. The fare offered—including both published in 1924, a time when inflation threatened the with this topic throughout history, from prehistoric cave paint- the intimate tie between food and labor is best expressed in mégalosor (megalosaurus) and cuissot d’ange (angel haunch) daily lives of thousands of Germans. More recently, Sister ings depicting wild game to lavish still lifes documenting the 32 Käthe Kollwitz 41 Claes Oldenberg 10 Sue Coe