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Ivan Albright • Interview: Chiaroscuro at the Louvre • Titian's Dirty US $30 The Global Journal of Prints and Ideas May – June 2019 Volume 9, Number 1 Ivan Albright • Interview: Chiaroscuro at the Louvre • Titian’s Dirty Dog • Francis Seymour Haden • Spanish Modern Jacob Lawrence • Christiane Baumgartner • Chinn Wang • Mary Schina • Eric Avery & Adam DelMarcelle • News FeaturingFeaturing exquisite exquisite color color photographs, photographs, The The Life Life Rembrandt’sRembrandt’s Religious Religious Prints Prints brings brings together together andand Art Art of ofFelrath Felrath Hines Hines explores explores the the life, life, work, work, and and stunningstunning and and virtually virtually unknown unknown religious religious etchings etchings artisticartistic signi signi cance cance of of Felrath Felrath Hines, Hines, one one of of the the most most fromfrom the the Dutch Dutch master master that that reveal reveal fresh fresh insights insights and and noteworthynoteworthy art art conservators conservators of of the the 20th 20th century. century. discoveriesdiscoveries with with each each new new encounter. encounter. ProvidingProviding the the rst rst book-length book-length biography biography ofof Lucius Lucius Beebe Beebe and and Charles Charles Clegg, Clegg, Reevy’sReevy’s new new book book is isan an indispensable indispensable Ubuntutu:Ubuntutu: Life Life Legacies Legacies of ofLove Love and and QuiltsQuilts and and Health Health speaks speaks to to the the healing healing historyhistory of of the the work work of of two two photographers photographers ActionAction features features quilts quilts that that pay pay tribute tribute powerpower of of quilts quilts and and quiltmaking quiltmaking and and whowho forever forever changed changed the the way way we we see see and and toto the the indelible indelible contributions contributions that that toto the the deep deep connections connections between between art art experienceexperience American American railroads. railroads. ArchbishopArchbishop Desmond Desmond Tutu, Tutu, the the rst rst andand health. health. It bringsIt brings together together over over a a blackblack Archbishop Archbishop of ofCape Cape Town, Town, and and hundredhundred gorgeous gorgeous health-related health-related quilts quilts hishis wife wife Leah, Leah, have have made made in inaddressing addressing withwith the the stories stories behind behind the the art, art, as as humanhuman rights, rights, advancing advancing social social justice justice toldtold by by makers, makers, recipients, recipients, healthcare healthcare issues,issues, and and advocating advocating for for peace peace in in professionals,professionals, and and many many others. others. SouthSouth Africa Africa and and around around the the world. world. ExploreExplore Your Your World World iupress.indiana.eduiupress.indiana.edu May – June 2019 In This Issue Volume 9, Number 1 Editor-in-Chief Susan Tallman 2 Susan Tallman On the Bounce Associate Publisher John P. Murphy 3 Design Director Ivan Albright: Wrinkles in Time Julie Bernatz Séverine Lepape Interviewed 9 Production Editor by Catherine Bindman Kevin Weil Gravure en Clair-Obscur: Cranach, Raphaël, Rubens Advertising Manager Lydia Mullin Matthias Wivel 14 Of Dogs and Men: Administrative & Titian and the Print Vernacular Editorial Assistant Percy Stogdon Mary Davis MacNaughton 20 Aegean Odes by Mary Schina Manuscript Editor Prudence Crowther Susan Tallman 23 Eric Avery and Adam DelMarcelle Editor-at-Large on the Opioid Crisis Catherine Bindman Exhibition Reviews Sarah Kirk Hanley 26 Reading Christiane Baumgartner’s Lines Alexander Massouras 30 Etched in Arcadia Ego: Francis Seymour Haden in Cambridge Armin Kunz 34 Grandeur Translated Re’al Christian 38 Black Lives Mattered: Jacob Lawrence and Toussaint L’Ouverture Megan N. Liberty 42 Ruptured Histories: Chinn Wang at The Print Center Elisa Germán 44 Postwar Abstraction in Spain On the Cover: Chinn Wang, detail of Prix de Print, No. 35 48 OCT 66 (Two Towers) (2018), screenprint, Juried by Diane Villani tape. Sunny Garden in Blue: Stories from the Caribbean to Brooklyn This Page: Jacob Lawrence, detail of (2018) Toussaint at Ennery (1989), screenprint by Bundith Phunsombatlert on paper. ©2019 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists News of the Print World 50 Rights Society (ARS), New York. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published without the written consent of the publisher. On the Bounce By Susan Tallman he present is always cocky—we are Spanish artists in Elisa Germán’s review Ttoo aware of knowing things the past melded the 20th-century language of ab- Art in Print missed, and too oblivious to all we have straction to an atavistic understanding forgotten (until the moment such things of place. In Chinn Wang’s screenprints, Art in Print is a not-for-profit are rediscovered, when we get to shout, reviewed by Megan Liberty, the history 501(c)(3) corporation, founded “hooray for us” again). of loss and recovery is a private one: the in 2010. At the time of his death in 1910, the here-and-not-here experience of the im- British surgeon and artist Francis Sey- migrant. Board Members mour Haden was one of the most cele- Ivan Albright was famously fascinated brated printmakers on the planet, his by aging, entropy and dissolution, and as Julie Bernatz etchings discussed in the same breath John Murphy explains, used printmaking Catherine Bindman (and breaching the same price bracket) to build recursive loops of time into his Renée Bott as those of Rembrandt. The recent exhi- own production. The recurrence of hor- Nicolas Collins bition of Haden prints at the Fitzwil- ror occurs in a much more pressing way Thomas Cvikota liam Museum drew attention to both in Eric Avery and Adam DelMarcelle’s David Dean the beauty of Haden’s work, and to its project, Epidemic, which, some three de- Bel Needles Robert Ross century-long slide onto the art historical cades after Avery’s first works on AIDS, B list—a product, Alexander Massouras addresses the American opioid crisis in Antoine Rouillé-d’Orfeuil argues in this issue, of changing taste and terms both heartbreaking and pragmatic. Marc Schwartz increasing discomfort with the idea of Christiane Baumgartner’s solo exhibi- Susan Tallman the “amateur.” tion at Wellesley College, reviewed here Meanwhile, in an interview with by Sarah Kirk Hanley, was titled after Editorial Board Catherine Bindman, curator Séverine her print Another Country, a monumen- Richard Axsom Lepape explains how chiaroscuro wood- tal woodcut of New York Harbor derived Jay A. Clarke cuts were initially perceived as spectacu- from a snapshot. It is a momentary image Paul Coldwell lar, then as old-fashioned, then simply of flux, recast as something solid and last- Stephen Coppel forgotten, before rebounding into pub- ing. For those with an eye on history, its Faye Hirsch lic favor. And it seems safe to guess that heroic sweep of carved water and small Jane Kent modernists probably found little of inter- bits of human infrastructure on the ho- David Kiehl est in Renaissance prints of monumental rizon may recall Titian’s great monumen- Evelyn Lincoln architectural painting (recently surveyed tal woodcut The Submersion of Pharaoh’s Andrew Raftery in Munich, and reviewed here by Armin Army in the Red Sea, the subject of Mat- Christian Rümelin Kunz) that 21st-century viewers can see thias Wivel’s essay here. Gillian Saunders as forerunners of prints by artists such as Wivel’s interest, however, is not in the Christo, connecting the power of ephem- churning water, or in the dramatically For further information visit eral, site-specific experience to that of a drowning Egyptians or happy Hebrews, artinprint.org/about-art-in-print/. distributable paper record. but in the small dog that Titian placed How artworks connect with people at front and nearly center, defecating on a a given moment, how they are valued or rock. It is an eccentric detail, a rude po- dismissed, is a persistent theme in the es- litical joke and a reminder of plain truths. says presented in this issue of Art in Print. Oceans rise, etchers fall, dogs go on In some, writers chart the untidy wave- doing what they must. forms of how reputations intersect time. In others, they consider artists who have Susan Tallman is Editor-in-Chief chosen to take on history directly. Jacob of Art in Print. Lawrence, for example, destabilized cen- turies of Eurocentric history painting by placing black actors in the leading roles of pictorial cycles such as The Life of Tous- saint L’Ouverture, reviewed here by Re’al Christian. Mary Schina’s 2016 Aegean Odes, examined by Mary MacNaughton, picture the physical and conceptual re- covery of salvaged ancient artifacts. The 2 Art in Print May – June 2019 Ivan Albright: Wrinkles in Time By John P. Murphy ith their perverse relish in time- Wravaged bodies and haunted, mold- ering doors, Ivan Albright’s paintings continue to shock, dismay and fascinate audiences. In iconic works such as Into the World There Came a Soul Called Ida (1929–30) and That Which I Should Have Done I Did Not Do (The Door) (1931/41), both at the Art Institute of Chicago, Albright’s meticulous style and macabre subjects make a jarring combination. A critic in 1931 summarized this unsettling effect: “With a technical equipment sec- ond to none, a way of working that is so distinctly his own that no one can suc- cessfully own it, a rare feeling for model-
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