This exhibition focuses on the role master printer George Miller (1894-1965) played in making fine art lithography an accessible medium in the early years of the twentieth century. The list of American artists attracted to his workshops reads as a veritable who’s who of printmakers for whom lithography became an important means of expression.

Toyin Ojih Odutola produces intimate portraits that trouble generalized identity markers and explore the human form as landscape. Early in her career, she developed a unique mark-making method with ballpoint pen that gives her subjects’ skin a richly textured—and literally black—appearance. The artist has said that with this technique she aims to emphasize “the specificity of blackness, where an individual’s subjectivity, various realities, and experiences can be drawn into the diverse topography of the epidermis.”

In Birmingham, a suite of three prints representing the artist’s brother, Ojih Odutola creates a sense of shifting perspective relative to her subject, moving around him in space to capture the familiar contours of his face and to suggest the multidimensionality of his being. The prints are based on photographs the artist took in Birmingham, Alabama, and were produced through a method known as lithography, a water- resist process by which images are drawn onto stone or metal plates in oil-based crayon, then inked and transferred to paper. The addition of gold-leaf detailing elevates the subject’s ordinary white tank top, bringing a regal dignity to the portrayal.

Ojih Odutola created this work during her 2014 residency at the Tamarind Institute, a renowned printmaking workshop in Albuquerque, New Mexico, that offers one of the world’s only master training programs in lithography. The Museum purchased Birmingham from Tamarind in 2018 through the generosity of an acquisitions gift from the Seattle Art Fair, which was intended to support the Museum in expanding and diversifying its contemporary holdings.

Recent Acquisitions is a biannual series highlighting works that have been gifted to or purchased for the Frye Art Museum’s permanent collection.

To commemorate the death of Rembrandt, 350 years ago in 2019, the Kupferstich-Kabinett is organizing an exhibition that celebrates the most creative and radical artist ever. The Dresden collection is the starting point of this exhibition that focus on the artist as a draughtsman and etcher. Circa 100 objects will shown, including international loans and two paintings from the Gemäldegalerie Alte Meister.

“Rembrandt’s Mark“ celebrates Rembrandt as an artists’ artist – as teacher, paragon, source of inspiration, authority and challenge for others. Around 100 drawings and prints by Rembrandt (1606-1669) will be combined with 50 works by his contemporaries, students, and followers up to artists of our time.

An exhibition of the artist’s recent work in screenprint, etching, linocut and collagraph. Limiting herself to the minimal elements of undulating parallel lines and a few carefully selected colors, Aspinwall creates luminous expanses that are suggestive of landscape, water and sky. This exhibition features several new works created specifically for this exhibition, including Ray I–III (2019), a vibrant large-scale series of editioned prints, and Twine (2018) and Ray (Aqua, Peridot, Citrine and Copper) (2019), two series of unique hand-colored linocuts. "Ann Aspinwall: Spirit of Place" is presented in collaboration with Garvey|Simon.

Explore prints depicting the good times, hard times, and war-time experiences of everyday Americans in the 1930s and 1940s.

Despite the hardships of the Great Depression, American printmaking blossomed during the 1930s. Government relief programs provided artists of all backgrounds new opportunities to collaborate and experiment. Meanwhile, print clubs and art associations made their works available to the broader public.

People of all classes could see themselves in works of art that reflected their own lives: at work, at play, and at home. Explore these democratic works created by American artists for the American people.

This exhibition celebrates two recent gifts of modern American prints from Hersh and Fern Cohen to the Philadelphia Museum of Art.

The exact origins of fireworks remain unknown. They probably originated in Asia sometime around the ninth century and are most often attributed to China, although pyrotechnics were known to have been used in ancient India as well. At some point in the Middle Ages the technology found its way to Europe, but sources vary on when they arrived and who brought them. The Italians were the first to manufacture fireworks in Europe, and they were well established features of religious festivals and public entertainment by the fourteenth century. So-called fire masters were tasked with creating ever more complex displays, and pyrotechnic schools were established throughout Europe during the Renaissance. Written descriptions of fireworks displays at festivals and events are found in sources dating into the sixteenth century. But it was in the seventeenth century that artists began attempting to capture these ephemeral events visually. This coincides with both the rise of the fete book and of etching and engraving as the primary media for fine book illustration.

A fete book, or festival book, is a volume devoted to recording the apparatus, participants, and events planned around things such as religious festivals, state visits, aristocratic marriages, military victories, coronations, and royal birthdays. These publications are meant to celebrate and promote the power of those taking part in or sponsoring the event in question. They are usually illustrated with etchings and engravings, which offered seventeenth-century artists more flexibility than the woodcut for rendering these fantastic spectacles.

This exhibition presents technical manuals and festival books drawn from the Special Collections of the National Gallery of Art Library, which describe and depict an array of techniques and strategies. Representing many different times and places, they show how the technology and artistry of fireworks displays and the methods for recording them evolved in seventeenth- and eighteenth-century Europe, as rulers projected their power and prestige through pyrotechnic delights.

Special note: This exhibition is open from 10:00 a.m. to 5:00 p.m., Monday through Friday. It is not open on weekends.

The Frick Collection is pleased to announce a promised gift of forty-two works on paper by James McNeill Whistler (1834–1903), from the collection of Gertrude Kosovsky. An exhibition highlighting fifteen prints and one pastel from the gift is now on view in the Cabinet Gallery. The collection was formed over five decades by Mrs. Kosovsky, with the support of her husband, Dr. Harry Kosovsky, and includes twenty-seven etchings, fourteen lithographs, and one pastel, which range from Whistler’s early etchings dating from the late 1850s to lithographs of the late 1890s. Most are impressions made during his lifetime, a number of them from his major published sets, while others were produced for periodicals, thus encompassing different aspects of the American expatriate’s prolific activity as a printmaker. Works printed posthumously are also included.

The Kosovsky promised gift comes a little over a century after Henry Clay Frick gave Whistler pride of place in his collection, having purchased more works (including paintings, etchings, and pastels) by the artist than by any other. Since Mr. Frick’s death in 1919, only one work by Whistler has been added to the collection, a lithograph after his portrait of Robert, the Count of Montesquiou. The gift significantly expands the institution’s Whistler holdings. In particular, it nearly triples the Frick’s works on paper by the artist — almost all from his Venice period — and places them in the context of his career as a whole, allowing many more aspects of the master’s virtuoso printmaking to be appreciated.

Just as modern streaming services give us unprecedented freedom to watch television series in our own order, time, and place, print series allowed viewers in the Renaissance Netherlands to enjoy the same sets of images as their peers in more personalized and accessible ways. The Print Series in Bruegel’s Netherlands: Dutch and Flemish Works from the Permanent Collection places sixteenth- and seventeenth-century Netherlandish prints in their original context of series to explore the practices of looking at a succession of images. Many of these series illustrate cosmological, religious, and social ideas, challenging Pieter Bruegel the Elder and other print designers to represent these themes in a manner that appealed to both personalized and general tastes. This exhibition also allows the visitor to consider the ways in which abstract ideas were illustrated in more recognizable contexts.

The Works Progress Administration (renamed the Works Projects Administration in 1939) was an American New Deal agency created to provide jobs for the unemployed, to build infrastructure, to document American history and to create new works of art. This exhibition complements “Celebrating Heroes: American Mural Studies of the 1930s and 1940s from the Steven and Susan Hirsch Collection,” organized by the Frances Lehman Loeb Art Center at Vassar College, and focuses specifically on the contributions of women to WPA art, including works by Lucienne Bloch, Marie Bleck, Marguerite Redman Dorgeloh, Helen Lundeberg, Minnetta Good, Jennie Lewis, Ann Nooney, Elizabeth Olds and others. Thanks to Lamar Dodd and museum founder Alfred Heber Holbrook, the Georgia Museum of Art’s collection has been historically strong in WPA-era artists, and we continue actively to collect both works of this time period and works by woman artists.

From 1500-1700, printmakers in the Low Countries were, as a group, the most skilled and prolific in all of Europe, and prints, often combined with text, played an important role in Netherlandish religious culture during this period. Printmakers utilized allegory in their work to address the most fundamental issues binding the human and the divine: love, virtue, vice, sin, death, and salvation.

"Through a Glass, Darkly”: Allegory and Faith in Netherlandish Prints from Lucas van Leyden to Rembrandt will be the first major exhibition to systematically consider the form, function, and meaning of allegorical prints produced in the Low Countries between the 16th and 18th centuries, and will serve as the basis for an illustrated catalogue produced by curators Walter S. Melion, Asa Candler Griggs Professor of Art History and director of the Bill and Carol Fox Center for Humanistic Inquiry at Emory University, and James Clifton, director of the Sarah Campbell Blaffer Foundation and curator of Renaissance and Baroque painting at the Museum of Fine Arts, Houston.