rsity. This exhibition is organized on the occasion of a donation to the Bibliothèque national de France by the artist's grandchildren. It is also concomitant with the publishing of the catalogue raisonné of his prints.

sight into a probing engagement with the medium that spans six decades.

The early drawings reflect the artist’s grappling with tradition and his pugnacious opposition to the dominant tendencies of the time. Recurring themes such as the heroes, the eagle, and the self-portrait contrast with the artist’s continual stylistic and methodical experimentation. An especially radical innovation comes in 1969, when he turns his motifs upside down, drawing the beholder’s attention to form and color rather than subject matter without abandoning figuration altogether. The drawings of the past ten years once again show the artist revisiting, correcting, and varying his earlier work. Self-reflection goes hand in hand with an insouciant and surprisingly unfettered graphic style.

a series of scenes of hunting intended to decorate the Poggio a Caiano villa in Tuscany. The suite of prints "Les Venationes" takes up the tapestry design on the topic of hunting, fishing and animal fighting.

and served as Museum President from 1968 until 1978. Until just a few years ago, he also chaired various Museum acquisition committees. A highly esteemed, nationally recognized ophthalmologist, and a member of the Order of Canada, to those who knew him, Sean was above all a gentleman. His support of the Museum included generous donations, close to 150 works, many of them works on paper. Although Sean loved prints and was an active collector of both European Old Master and modern European, American and Canadian prints, he maintained a particular enthusiasm for drawing throughout his life. Reflecting his encouragement to others to take up pencil, chalk or watercolour in Dare to Draw, his book on amateur drawing published in 2008, he could often be seen in our galleries executing quick sketches. During his travels, which ranged from Métis-sur-Mer to Venice, he always had a sketchbook at hand.

To pay tribute to this extraordinary man and his great generosity, it is most fitting that we should mount an exhibition of a selection of works on paper he donated to the Museum. The works exhibited range from the sixteenth to the late twentieth century, from Italy and Britain to the United States and Canada: among the Italians are fine Canalettos (ill. 4) and works by Giovanni Battista Piranesi and Giuseppe Bernardino Bison (ill. 10); from Britain, there are extraordinary drawings (and bronzes) by Henry Moore (ill. 7), prints by Stanley William Hayter and Lynn Chadwick, and a lovely Paul Nash watercolour; twentieth-century American print masters represented include George Wesley Bellows (ill. 6), Stow Wegenroth, Martin Lewis and Reginald Marsh; and Canadian masters Alfred Pellan (ill. 5), Jean-Paul Riopelle, Jean McEwen and Christopher Pratt. Other international modernists include Pablo Picasso (ill. 2), Rufino Tamayo, Marino Marini and Claes Oldenburg. The exhibition also features works by Sean’s two artist parents, the Canadian Cecil Buller (ill. 8) and the American John Murphy, as well as some of his own sketches.

Sean’s vision extended well into the future, and he established a fund in his mother’s name for the acquisition of prints. When he withdrew from his Museum duties, his many friends established the Dr. Sean B. Murphy Fund for the acquisition of works on paper. Furthering Sean’s legacy at the Museum, these funds have made it possible to acquire many masterworks, including an early rare print after Hieronymus Bosch, an engraving by Hendrick Goudt, the first Ludovico Carracci to enter the collection and a touching hand-coloured woodcut depicting a portion of the Lord’s Prayer by the German Expressionist Max Pechstein (ill. 9).

ushered in a new era of wordplay into the history of modern art. The written word was abstracted from the structure of language and introduced as a graphic, artistic element. From the fragmented “word salads” of the Dadaists to the speech balloons of mid-century Pop art, artists have frequently used language, often ironic or enigmatic, to enhance the resonance of their work. In his screenprint Sin (1970), Ed Ruscha transforms the word into a mountainous object that looms over a trompe l’oeil rendering of an olive. According to Ruscha, “words are pattern-like, and in their horizontality they answer my investigation into landscape. They’re almost not words—they are objects that become words.” Art/Word/Image examines the use of language in art through selections from the permanent collection including works by Robert Cottingham, Bruce Nauman, Fred Stonehouse, and John Wilde.

nsumer society after the Second World War, and it was Hamilton who led this new art movement in the UK.

After his death in 2011, Tate Modern in the UK organized a major retrospective to illuminate the art world of the first standard bearer of pop art. In Korea, however, there have been very few opportunities to view his works until now. Acclaimed as a major artist representing British modern art, Richard Hamilton visually reinterpreted his observations on modern society through new concepts and perspectives.

The artist was mesmerized by the imagery that was mass produced in the modern world, and focused on the reproduction of imagery and its mechanisms generated in the course of creation of human desire and consumption. The artist continuously reinterpreted the same images and themes, producing a series of works, and in the process, he explored the relationship between images and technical methods through endless exploration and experimentation. In this context, the serial works of Hamilton are the accumulated result of the artist’s exploration of each image, the meaning of each image, and its intrinsic essence.

Richard Hamilton: Serial Obsessions is a unique type of exhibition that highlights the artistic trajectory of the artist. Rather than a narrative retrospective that examines the collected works of Hamilton, this exhibition consists of selected works or a series of works by the artist as a close-up of the 60-year period from the 1950s to 2000s. The material and themes of the works presented at this exhibition are expansive, ranging from electronic home appliances to flowers, pop stars to political prisoners. Images borrowed from newspapers— rock star Mick Jagger being arrested for drug possession, the IRA prisoner protests, and the kidnapping of an Israeli nuclear researcher—have been his material over several decades. Hamilton was enchanted by images appearing in magazine advertisements for electronic home appliances such as toasters, vacuum cleaners, and refrigerators, showing a fascination for design and technology.

The artist has almost obsessively focused on such themes for a long time, and they are revealed as a “complex mechanism” which represents the society behind them through methods such as repetition and reinterpretation. This exhibition will provide an opportunity to discover the multilayered art world of Richard Hamilton, who continuously stretched himself as an observer as well as participant.

An illustrated book that introduces readers to the works of Richard Hamilton is scheduled to be published with the exhibition. The book will include articles written by Andrew Wilson, a senior curator at Tate Modern and a prominent researcher in the

i Art Museum’s rich collection of nineteenth-century French graphic arts, presents a survey of French lithography from its establishment in Paris around 1815 through the end of the nineteenth century. By the 1820s, Paris had emerged as a major center of artistic lithography as the medium was taken up by both established and rising artists, including Horace Vernet, Nicolas Charlet, Théodore Géricault, and Eugène Delacroix. Their example inspired an ongoing development of the creation and production of lithographs by French artists, printers, and publishers which culminated in the 1890s with large color lithographic posters by such artists as Jules Chéret and Henri de Toulouse-Lautrec.

The exhibition is funded in part by Ruth Schimmel, the Estate of Arline DuBrow, and donors to the Zimmerli’s Major Exhibition Fund: James and Kathrin Bergin, Alvin and Joyce Glasgold, Charles and Caryl Sills, the Voorhees Family Endowment, and the Jerome A. Yavitz Charitable Foundation, Inc.–Stephen Cypen, President.

white - express themselves with means and in perfectly distinct registers. These three artists attended the Atelier de Saint-Prex, worked there for a long time, participated in research and discussions in front of the press and around the table, and regularly collaborated with the publications published by the Foundation. Thanks to their generosity, all or part of their work has entered the collections of the William Cuendet & Atelier Foundation of Saint-Prex over the years.

Marianne Decosterd
With the help of its point, barely clawing the copper, Marianne Décosterd pulls the threads of her inner ball, making, quickly and uneasily, undoing the figures that spring from her embroidery. It is with great lightness that it plunges deeply, forbidding to fix too long the features. The faces bend, the silhouettes just pass but with fever, leaving a trace that never fades away from the eye.

Ilse Lierhammer
In her early works combining etching and chisel, Ilse Lierhammer was anxious to say the secret movements of the night and the intertwining of the great forces that order the landscape. In recent years this monumentality has moved into still lifes, sometimes stripped to the extreme but where the correctness of the outline, the balance of lights and shadow play provide maximum intensity images.

Susan Litsios
She likes begin with: clear oppositions offered by the process of engraved wood and bright, luminous outlines, which her blade cuts into the wood. Its clashes are less of a psychology than a meteorology where the vagaries of light lengthen the hours, where the shadows constantly open openings in the thickets, animate the torrents, put the bodies in motion. His art is direct. He sometimes borrows the paths of narrative and fable that address with humor to our children's souls.