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Charles White (American, 1918-1979) Birth of Spring, 1961 Charcoal Drawing 63.33 Gift of the Childe Hassam Fund of the American Academy of Arts and Letters, New York

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Charles White (American, 1918-1979) Birth of Spring, 1961 Charcoal Drawing 63.33 Gift of the Childe Hassam Fund of the American Academy of Arts and Letters, New York Charles White (American, 1918-1979) Birth of Spring, 1961 Charcoal drawing 63.33 Gift of the Childe Hassam Fund of the American Academy of Arts and Letters, New York A Chicago native, Charles White was born in 1918, the son of working class parents. He participated in the “Chicago Renaissance,” a mid-western movement of the 1930s, 40s and 50s that, like the earlier “Harlem Renaissance,” was characterized by socially critical cultural expressions by African Americans. In the late 1940s White began to devote his attention to the creation of monumental finished drawings in charcoal, wash, and ink. His large drawings often took months to complete, and his imagery focused on the social and spiritual lives of African Americans. The Birth of Spring was created in 1961, during the early years of the American Civil Rights movement. The woman’s somber face and weathered hands testify to a life of physical and emotional pain, yet she rises out of the darkness into the open space above. Historian Peter Clothier described the figure as an “ancestral presence” removed from time and place, “existing somewhere between America and Africa.” Robert Motherwell (American, 1915-1991) Summertime in Italy, 1965-66 Lithograph on Rives BFK 69.1078 Robert Motherwell first studied Philosophy and Art History before pursuing a career in Art in 1941; the same year that Chilean painter Roberto Matta introduced him to the surrealist theory of psychic automatism. Motherwell practiced automatism, what he called “doodling,” in drawing, painting, writing, and collage throughout his prolific career. In 1945 the artist studied engraving and other intaglio techniques with Stanley William Hayter at Atelier 17. It was not until 1961 that he made his first lithographic prints in collaboration with Tatyana Grosman at Universal Limited Art Editions. A prime example of Motherwell’s use of automatism, Summertime in Italy also represents another common theme in his art: the use of black as a color. Art historian Stephanie Terenzio describes black as a source of power in Motherwell’s work, his “gesture, his autograph, his monumental drawing, his protagonist – his consciousness. It is expressive of his tragic sensibility, his joy and his elegance. It is the heart of his abstraction and his most direct and constant voice.” Salvador Dali (Spanish, 1904–1984) The Eye of Surrealistic Time, from the series Memories of Surrealism, 1971 Etching and Lithograph 79.111.11 Gift of Mr. and Mrs. Marvin Small Salvador Dali, the most famous of the surrealist painters, was born in Spain in 1904. He trained at the San Fernando Academy of Fine Arts in Madrid and was expelled for his outrageous behavior. In the late 1920s, he joined the surrealist circle in Paris, a group of writers, artists and intellectuals that strove to introduce the irrational and the subconscious as the avant-garde subject matter of modern literature and art. In his Memories of Surrealism series, Dali created a portfolio of twelve etchings and lithographs. These images are a typical Dalian hodgepodge of bizarre and otherworldly imagery. According to the artist, the subject matter in these graphic works did not represent a visual manifesto of surrealism. Instead, Dali portrayed a series of images from his psyche recorded like an illustrated dream journal. In The Eye of Surrealistic Time, Dali’s orthogonal lines lead the viewer’s eye to a vanishing point in the distance. On the horizon line, an eye looms over the landscape like a sun, its pupil a clock. The butterflies and figures cast inconsistent shadows over this surrealist terrain, and the overall effect is dream-like and irrational. Robert Rauschenberg (American, b. 1925) Page 3, 1974 From the Pages & Fuses series Hand-made molded paper, Plexiglass box designed by the artist 80.208 Purchased with the aid of funds from the National Endowment for the Arts Robert Rauschenberg, a Texas-born artist, discovered his talent while serving in the United States Marine Corps in 1947. Studying under Josef Albers at Black Mountain College in North Carolina, the young artist began to reject the seriousness of Abstract Expressionists such as Jackson Pollock and Willem de Kooning. Instead, Rauschenberg’s art is characterized by experimentation with materials and methods, including printing, collage, and papermaking. Page 3 represents a four-day project entitled Pages and Fuses created at the Richard de Bas Papermill in Ambert, France. The pulp, a mixture of cord, twine and cloth, was divided into five buckets, and then mixed with bleached pulp to produce five gradations of grey. The mixture was then poured into a tin mold, and transferred from the mold onto the drying surface. The resultant piece exhibits the gradation of greys, from the lighter center to the darker edges. Placed in the artist’s specially designed transparent case, the paper piece becomes sculpture. Frank Stella (American, b. 1936) Puerto Rican Blue Pigeon, 1977 52-color lithograph and serigraph 80.210 Purchased with the aid of funds from the National Endowment for the Arts A 1959 Princeton graduate, Frank Stella entered the American art scene when Abstract Expressionism was losing its momentum. His early, non-representational works are characterized by geometric precision and control. Puerto Rican Blue Pigeon comes from a later period in the artist’s career, when his work took on a freer, more energetic character. In this print, Stella employs gestural lines and dazzling color to suggest a bird in flight. Stella began producing prints in 1967, and today he is recognized as a “peintre-graveur,” a painter for whom printmaking is an integral part of his work. Stella’s fascination with the technical aspects of art production and printmaking provides him with a platform for continual experimentation. Puerto Rican Blue Pigeon is from Stella’s Exotic Bird series of 1976–1979. The artist combined the techniques of lithography and serigraphy to produce the image. Each color was printed separately, so that multiple silk screens and litho plates (modern synthetic substitutes for litho stones) were required to create the image. Stella worked with a master printmaker to layer the tones and produce the complex chromatic effects. Helen Frankenthaler (American, b. 1928) Ramblas, 1987–88 Lithograph and etching 92.75 Gift of Museum Associates Since 1959, when Helen Frankenthaler had her first solo exhibition at the André Emmerich Gallery in New York, she has been recognized as a leader of the Abstract Expressionist movement. Frankenthaler began her career as a painter and found it difficult, initially, to reconcile the technical rigor of printmaking with her abstract, spontaneous style. Eventually, however, she mastered a variety of printmaking media and completed a large body of graphic work, including lithographs, screen prints, etchings, woodcuts, and monotypes. In Ramblas, Frankenthaler employed the technique of lithography to create the print’s red border. The central patches of color and scratched lines were made using the etching medium. The gestural quality of these lines reflects the artist’s interest in allowing the process of making the image to be reflected in the product. Henri Matisse (French, 1869–1954) Symbolic Landscape: Ithaca, 1935 From a series of six prints illustrating James Joyce's novel Ulysses Soft-ground etching 92.79.6 Gift of Museum Associates The French artist Henri Matisse was born in Cateau-Cabrésis in 1869. After studying law, he started a career as a painter, making a name for himself as the leader of the Fauve movement (1905–1908). Later, Matisse's style became more abstract, rhythmic and linear. In the 1930s, the Limited Editions Club of New York commissioned Matisse to illustrate an edition of James Joyce's book Ulysses with six soft-ground etchings. In the novel, events in modern Dublin parallel episodes from Homer's Odyssey. Matisse chose to picture scenes from the ancient Greek epic to illustrate Joyce's book. The publisher produced a signed edition of 1500 books (including a copy now in Special Collections, Ellis Library), as well as a portfolio edition of the etchings. Symbolic Landscape: Ithaca is the last print in the series. It represents Ulysses' homeland, to which he eventually returned after years of travel and adventure. A garden path leads to an architectural structure, perhaps a doorway or gate. The soft-ground etching process allowed Matisse to create delicate tonal effects that suggest light and shadow on trees and bushes. Philip Pearlstein (American, b. 1924) Model on Stool, 1984 Brown conté crayon 94.6 Pittsburg-born Philip Pearlstein became a leader of the American super-realist/photo- realist movement in the 1960s. His highly naturalistic portrayals of nude models represent a reaction against the non-representational art movements that were dominant in the 1950s, 60s and 70s. Pearlstein distinguished his art, however, from that produced in earlier naturalistic traditions by attempting to distance himself from his subject matter. He claimed to process each composition as if he were a camera or a machine. Instead of arranging his models in traditional poses in natural light, he combined awkward poses with harsh artificial illumination in order to discourage sentimental readings of his images. In this drawing, Pearlstein’s treatment of the figure is cool and detached. His cropping of the body and the upper face presents the viewer with a non-traditional representation of the nude figure. The ultimate effect is that of indifferent observation. Pearlstein approaches the human body as if it were a still life, emphasizing the anonymity of his subjects. Diane Arbus (American, 1923–1971) Untitled (8), 1969 Silver print photograph 99.5 Gilbreath-McLorn Museum Fund Born into a wealthy family in New York City, Diane Arbus began her career in photography as an assistant to her husband, Allan Arbus, who was a fashion photographer.
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