Discover the brilliant colors and spirited lines of Yoshitoshi, the last great master of the traditional Japanese woodblock print. Ever inventive in his art, he responded to Japan’s rapid modernization of the late 1800s with greater expressiveness than seen before. His vivid, dynamic imagery served as inspiration for modern-day manga and anime.

Tsukioka Yoshitoshi came of age as an artist as Japan opened to the West after two hundred years of isolation. Navigating both cultural traditions and the upheavals of the modern world, he tackled a wide range of themes: the heroism of samurai warriors, poetic images of figures in nature, female beauty, historic accounts, ghost stories, and the horrors of the battlefield.

This exhibition showcases some seventy works from the Museum’s extraordinary collection of Yoshitoshi prints, the largest repository of his work outside Japan.

Artists of the fifteenth through seventeenth centuries devised unusual ways to integrate writing into their works. Fascinated by the shapes of the letters, they create figure alphabets in which the contorted bodies of humans and animals stand in for the strokes of the pen. Dialogues, legends, and titles on banderoles bring images to life and help the beholder make sense of them. Verbose captions take up a great deal of room. These elements appear in portraits and depictions of biblical scenes, but also in illustrations of historic events. In chronicles, cityscapes, and world maps, writing is the central organizing device. This exhibition showcases selected eminent works from the Kupferstichkabinett to shed light on the multifaceted interplay between writing and image.

Camille Pissarro (1830-1903) was one of the leading representatives of Impressionist printing. He put research and experimentation first and foremost, believing that the process of creating the prints was more important than the ultimate result.

The subject matter of Pissarro’s prints may be straightforward, but the works truly show just how inventive he was. He experimented with materials and techniques to create various–clearly different–versions of each composition. Pissarro used materials such as wire brushes, sandpaper and copper daguerreotype plates.

The Van Gogh Museum has acquired an impressive 91 prints by Camille Pissarro thanks to the support of the Vincent Van Gogh Foundation, the BankGiro Loterij and members of The Yellow House. From March 1, 2019 an additional selection of Pissarro's unique, experimental prints will be on display on the upper floor of the Exhibition Wing.

The creator of art's most haunting and iconic face. A radical father of Expressionism. Norway’s answer to Vincent van Gogh. But who was Edvard Munch? Discover this pioneering, subversive artist as the British Museum lifts the veil on his life and works in the largest show of his prints in the UK for 45 years.

The emotional intensity of The Scream has reverberated through history, speaking to generations. The fact that it needs no explanation is arguably one of its strengths. Yet perhaps it is also the reason that, beyond his name, so little is known about its creator – The Scream speaks for itself. Although it has become a universal symbol of human anxiety, it is a deeply personal response to Munch’s upbringing and experiences as a young artist.

Looking at the cities of pre-war Oslo, Berlin and Paris, the exhibition shows how new ideas about personal and political independence gave rise to an important voice. Visceral, rebellious and hungry for new experiences, Munch rejected his strict Lutheran upbringing to pursue an unconventional lifestyle. He travelled across Europe, drawing artistic inspiration from the bohemian circles he encountered and his passionate love affairs. Munch’s work articulated his experiences of life in a rapidly changing Europe, that was to be shattered by the first global industrialised conflict.

In this collaborative exhibition with the Munch Museum in Oslo, discover how he mastered the art of printmaking and explore his remarkable body of work. Munch’s innovative techniques, bold use of colour and dark subject matter resonated with shifting attitudes – and mark him out as one of the first truly ‘modern’ artists.

The student-curated exhibition Printing History investigates how printmaking has challenged definitions of authority, industry, and status since the original graphic revolution began around 1400. Printing History consists of 30 works selected from the College of Wooster Art Museum's permanent collection, ranging from Albrecht Dürer to Andy Warhol. The exhibition surveys print technologies to illuminate the artistic and social circumstances in which these images were crafted, circulated, and consumed.

The College of Wooster Art Museum routinely undertakes collaborative exhibition projects with faculty and students that synthesize course work with research of objects selected from the CWAM’s permanent collection. This year’s collaborative exhibition project is part of the seminar History of Prints, taught by Tracy Cosgriff, Assistant Professor of Art History. The course description below outlines some of what students studied while developing the exhibition:

"Ours is the age of exponential image-making. This upper-division seminar critically examines the original graphic revolution: the invention of prints and the emergence of duplicable media in the West, whose cultural currency and aesthetic criteria differ considerably from those of painting, sculpture, and architecture. From the woodblock to the silkscreen, we will survey the technologies of printmaking to illuminate the social and artistic circumstances in which these images were crafted, circulated, and consumed. Major themes include: imitation and invention, authorship and audience, original and copy. Together, we will explore how print media shaped cultural definitions of canon, creativity, and industry, and by interrogating real objects, we will critically reconsider their role as agents of historical meaning."

Opening Reception
Thursday, April 18, 6:30-8:00pm
Gallery Talks by Students, 7pm

Please visit the 'External Link' below for more information about the exhibition and its programming.

A panel with Leslie Diuguid of Du-Good Press, Erik Hougen of Lower East Side Printshop, and Anna Hoberman of Afternoon Editions. Moderated by artist, Adjunct Associate Professor of Fine Arts, and organizer of Pratt Institute Editions Grayson Cox, this conversation will explore how printmakers continue their practice after leaving their school's facilities, how to establish a printshop, and other avenues for working in the field.

This event is part of the public programming for IPCNY's spring exhibition Pulled In Brooklyn, taking place at Pratt Institute Library, 3rd floor, Alumni Reading Room, 200 Willoughby Avenue, Brooklyn, NY.

This event is free, open to the public, and wheelchair accessible.

Please visit the 'External Link' below for more information and to RSVP on Eventbrite.

To Catch the Eye will showcase the historical value of the study of moving images encountered over a century before cinema, video, and the internet. Rooted in emerging scholarship, the 2019 roundtable will challenge the notion that the visual bombardment from and comprehension of mass media is a modern phenomenon. Three visual culture scholars who study the history of moving images will engage in a provocative conversation about their work with metamorphic, sequential, and mosaic-like graphics relative/irrelative to the 21st-century digital environment. The panelists will discuss and debate the history and continual relevance and relatability of enigmatic, fantastical, and vernacular motion imagery.

The Van Gogh Museum has acquired a total of 91 prints by Camille Pissarro (1830-1903). The sizeable collection reveals the extent of Pissarro’s experimental approach and contains innumerable unique pieces, including a sought-after self-portrait by the artist.

The prints are from the Samuel Josefowitz Collection, and were amassed over many decades with great passion, expertise and patience. The entire collection has now been acquired by the museum. Together, the works provide a comprehensive overview of the artist’s printed oeuvre.

Camille Pissarro was one of the leading and most productive representatives of Impressionist printmaking, creating some 200 etchings and litpgraphs during his career. His art was a major source of inspiration for Vincent van Gogh.

From 1 March to 26 May, 42 of the acquired prints will be on display in a special presentation in the print cabinet in the Exhibition Wing of the museum.

Please visit the 'External Link' below for more information.

The streets, cabarets and cafes of the Montmartre district were the scene of a creative explosion, marked by the bohemian and the avant garde in the hands of young artists and intellectuals who challenged the establishment. Henri de Toulouse-Lautrec and other artists such as Vincent van Gogh, Jean-Louis Forain, TA Steinlen, Pierre Bonnard or Édouard Vuillard contributed to this flourishing of a breakthrough movement outside the bourgeoisie.

The exhibition, which consists of more than 350 works with international loans from public and private collections, represents a journey through the bohemian Paris of centuries. A multidisciplinary exhibition to understand the fundamental role that the spirit of Montmartre had in the development of modern art, and the way in which Toulouse-Lautrec and his contemporaries influenced the evolution of ephemeral artistic production: posters, illustrations, prints and designs, that expanded bohemian spirit and artistic creations to new audiences.

The German Revolution: Expressionist Prints is timed to commemorate the violent revolution in Germany from 1918-1919 - a period of anarchy and violence that broke out at the end of the First World War, in Berlin and other big cities. Germany’s old political and social hierarchies failed before World War I ended and the revolutionary fighting and chaos continued until the establishment of the Weimar Republic in August 1919.

The exhibition focuses on the revolutionary printmaking that emerged in Germany in the years 1906-1926. The works are drawn from The Hunterian’s own exceptional holdings of German Expressionist art, supplemented by Max Beckmann’s set of 11 lithographs, Hell, on loan from the National Galleries of Scotland. This monumental series encapsulates the terror, hunger and sheer misery that enveloped the city of Berlin, which had been the German World’s great international centre for the production and exhibition of art.

Artists such as Beckmann turned to printmaking of various kinds from commercial necessity. This was the great period of the woodcut, led by the Norwegian Edvard Munch, who inspired many to take up a medium which has dramatic persuasive power.

Other artists turned their backs on the physical destruction and looked inwards. Munch, Kokoschka, Schiele, Schmidt-Rottluff, Nolde, Pechstein, Heckel, Barlach, Dix, Grosz, Corinth and Paula Modersohn-Becker all made prints exploring human stories which are linked thematically in the exhibition and seem to have arisen as an antidote to the disaster of the war: Love and Anxiety, A Bridge to Utopia, and Conflict and Despair.