Blocks of Color
American Woodcuts from the 1890s to the Present
September 1, 2009 – January 3, 2010 Jane Voorhees zimmerli art museum rutgers, the state university of New jersey New brunswick
Blocks of Color: American Woodcuts from the 1890s to the Present September 1, 2009 – January 3, 2010 Jane Voorhees Zimmerli Art Museum Rutgers, The State University of New Jersey 71 Hamilton Street New Brunswick, New Jersey 08901-1248 T. (732) 932.7237 www.zimmerli museum.rutgers.edu Copyright ©2009 Jane Voorhees Zimmerli Art Museum Rutgers, The State University of New Jersey All rights reserved. No part of this publication may be reproduced in any manner without written permission of the publisher The exhibition catalogue received support in part from the Class of 1937 Publication Endowment and the NEA Planning and Stabilization Endowment. Zimmerli Art Museum’s operations, exhibitions, and programs are funded in part by Rutgers, The State University of New Jersey; the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts; Johnson & Johnson; and by the donors, members, and friends of the Zimmerli Art Museum. Copyeditor: Cynthia Newman Bohn Designed by Desantis Creative Printed by Jersey Printing Associates, Inc. Photo credits: Jane Voorhees Zimmerli Art Museum (figure 1 photo by Peter Jacobs, figures 2-3 and 5-7 photos by Bryan Whitney, figure 4 photo by Jack Abraham). Front Cover: Arthur Wesley Dow (American, 1857–1922), The Derelict (The Lost Boat), 1916. Color woodcut, 7 1⁄16 x 5 3⁄8 inches. Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, acquired with the Brother International Corporation Japonisme Art Acquisition Fund. Photo by Peter Jacobs. Back Cover: Blanche Lazzell (American, 1878–1956). West Virginia Hills, 1919. Color woodblock, 12 ¾ x 12 ¾ x 1 ¼ inches. Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, Ralph and Barbara Voorhees American Art Fund. Photo by Jack Abraham.
Director’s Foreword and Acknowledgments The Jane Voorhees Zimmerli Art Museum at Rutgers, The State University of New Jersey, proudly exhibits Blocks of Color: American Woodcuts from the 1890s to the Present, a survey of over one hundred prints celebrating not only the tradition and ongoing excellence of color woodcut printmaking in the United States but also the riches of the Zimmerli’s graphic arts collection. Indeed, for decades this museum has been instrumental in promoting the collecting and scholarship of European and American prints of the late nineteenth century inspired by the art of Japan or Japonisme. Among the notable highlights in the Zimmerli’s collection are rare early prints by Arthur Wesley Dow, Helen Hyde, Bertha Lum, and B .J. O. Nordfeldt. Starting in 1997, Dr. David and Ruth Robinson Eisenberg considerably strengthened the museum’s modern holdings with significant gifts that eventually totaled over 1,500 American prints, including the bold woodcuts by Anne Ryan, Seong Moy, Werner Drewes, and Richard Diebenkorn in this exhibition. Other generous donors have made possible the acquisition of major prints now considered masterpieces of the color woodcut medium, such as the works by Gustave Baumann, Blanche Lazzell, and Margaret J. Patterson. To honor the vital collaborative process between master printers and contemporary artists in the creation of prints, the museum established the Rutgers Archive for Printmaking Studios (RAPS). Today, this archive contains numerous proof impressions by multiple artists produced since 1983 by a selected group of American presses and master printers. Such master printers as Maurice Sánchez of Derrière L’Étoile; Randy Hemminghaus of Rutgers University’s Brodsky Center for Innovative Editions; and Judith Solodkin of Solo Impression, Inc., along with other master printers, have helped the Zimmerli to document artistic and technical trends in contemporary American printmaking. Richard Bosman, Jim Dine, Helen Frankenthaler, and Donald Judd, among many other contemporary artists, usually in collaboration with master printers, have achieved powerful color woodcuts, many being large-scale, that convey a wide range of expressions, from forceful vigor to subtle lyricism.
We are pleased to feature these spectacular examples of recent color woodcuts in this exhibition and also encourage members, friends, colleagues, and students to visit by appointment the David A. and Mildred H. Morse Research Center for Graphic Arts, which houses the Zimmerli’s extensive collection of over 45,000 works of art on paper, dating from the 1800s to the present day. We are exceedingly grateful to the artists and gallery colleagues who generously lent recently produced color woodcuts to this exhibition: Jean-Paul Russell and Jessica McCabe at Durham Press, Durham, Pennsylvania; Randy Hemminghaus and our colleagues at the Brodsky Center for Innovative Editions at Rutgers; Karen Kunc; Jeremy Dine and Rachel Gladfelter at Pace Prints Chelsea, New York; Mary Ryan, Jeffrey Lee, and Jordan Karney at Mary Ryan Gallery, New York; and Betsy Senior and Laurence Shopmaker at Senior & Shopmaker Gallery, New York. My warm appreciation is extended to Christine Giviskos, Associate Curator of Nineteenth-Century European Art, author of the essay in this catalogue, who curated this stunning exhibition with Marilyn Symmes, Director of the Morse Research Center for Graphic Arts and Curator of Prints and Drawings. The staff of the Zimmerli Art Museum has played a key role in the realization of this important exhibition, its programs, and catalogue. Together with Christine Giviskos and Marilyn Symmes, I gratefully acknowledge the major contributions of Roberto Delgado, Preparator; Jenevieve DeLosSantos, Graduate Assistant, Morse Research Center for Graphic Arts; Ted Foley, Exhibitions Coordinator; Alfredo Franco, Curator of Education; Leslie Kriff, Registrar; Margaret Molnar, Associate Registrar; Kiki Michael, Assistant Registrar; Edd Schwab, Operations Manager; Stacy Smith, Publications Manager; Ryan Stalcup, Assistant Operations Manager; and Linda Strandberg, Coordinator of Educational and Community Programs. The prints in this exhibition highlight significant stages in the history of color woodcut printmaking and the styles of American art. We invite the Zimmerli’s campus, regional, and national audiences to draw inspiration and delight from these beautiful works. Suzanne Delehanty Director
Blocks of Color
American Woodcuts from the 1890s to the Present
Woodcut is the oldest of printmaking techniques; European artists first used woodcut as an art form during the 1400s. Because of its relative simplicity compared to engraving, etching, and lithography, woodcut remained in the artistic repertoire for centuries. Woodblocks could be more cheaply obtained and printed by hand, while other printmaking techniques required more expensive materials (copper plates, lithography stones, and tools to work them) and specialized presses for printing. However, between the sixteenth century and late nineteenth century, Western printmakers increasingly favored other ways of making prints and art, so woodcut prints became less prevalent. After 1860, when Japanese exports of all kinds became newly available in the West, Japanese color woodcut prints became a fixture of exhibitions and print shops in major European and American cities. Artists became captivated not only by the subject matter and compositional style of Japanese prints but also by their finely carved designs and complexly printed color. In the United States, the burgeoning arts and crafts movement, which celebrated simpler, preindustrial art forms and techniques, combined with the inspiring example of Japanese ukiyo-e prints set the stage for the blossoming of the color woodcut print in America, which continues to this day. Blocks of Color: American Woodcuts from the 1890s to the Present draws upon the rich print collection at the Jane Voorhees Zimmerli Art Museum to survey the achievement of American artists who turned to this venerable medium, expanding its subject matter and mastering its technical demands to create
dazzling, innovative works that honor both the art and craft of the color woodcut. The Lure of Japan The aesthetics and technical mastery of Japanese color woodcuts inspired American artists across the country, notably Arthur Wesley Dow (1857–1922), a painter from Ipswich, Massachusetts, who had studied in Paris. Dow experienced an artistic epiphany when he began studying Japanese color woodcut prints upon his return home. He was particularly taken with their harmonious rendering of color and light and, wishing to achieve a similar simple beauty in his own work, began to create his own color woodcut prints in 1891. Using the Japanese method of carving
1. Arthur Wesley Dow (American, 1857–1922) The Derelict (The Lost Boat), 1916 Color woodcut, 7 1⁄16 x 5 3⁄8 in. (17.7 x 13.8 cm) Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, acquired with the Brother International Corporation Japonisme Art Acquisition Fund, 1996.0372.001.
2. Helen Hyde (American, 1868–1958), The Sauce-Pan Shop, 1908. Color woodcut, 13 1⁄16 x 18 in. (33.1 x 45.7 cm). Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, Ralph and Barbara Voorhees American Art Fund, 1986.0056.
several blocks for each composition and using watercolor inks for printing, Dow also incorporated the oblique views and flat picture planes of Japanese landscapes for his own views of Ipswich (figure 1 and cover; nos. 23-25). Dow often printed the same compositions using different color combinations, creating several unique works of art with a single printmaking matrix. This method of “painting with woodblocks,” in which he would instruct his many students, demonstrated the creative potential of the color woodcut print to Dow’s contemporaries and helped instigate the rise of the technique among American printmakers during the first quarter of the twentieth century. Bror Julius Olsson Nordfeldt (1878–1955; nos. 82–86) began making Japanese-inspired color woodcut prints in Chicago after studying the technique in London. Helen Hyde (1868–1919; nos. 43–49) was so enthralled by Japanese art that she traveled to Japan in 1899 to learn color woodcut printmaking directly from
traditional master carvers and printers; on her honeymoon in Japan in 1903, Bertha Lum (1869–1954; nos. 69–70) also sought instruction in the technique from a printer in Yokohama. Both women defied Western convention to live and pursue their art in Japan for significant periods of time. Lum and Hyde each adopted Japanese subject matter for their prints and created them in the traditional manner of collaborating with workshop artists rather than doing their own carving and printing. Hyde also drew inspiration from her other travels; her bold composition The SaucePan Shop (1908; figure 2) was inspired by a trip to Soochow, China. This print prominently displays Chinese characters on the facade of the shop, which are reflected in the river, and is executed with masterfully printed layers of color. After her trip to Mexico in 1911, Hyde made several prints depicting its landscape and people (nos. 44–46). Experimentation From White-Line Woodcuts to Abstraction Without traveling as far afield as Hyde and Lum, women artists across the country contributed to the great achievement and
3. Blanche Lazzell, West Virginia Hills, 1919. Color woodcut, 15 ¾ x 14 9⁄16 in. (40 x 37 cm). Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, Ralph and Barbara Voorhees American Art Fund, 82.027.001.
4. Blanche Lazzell (American, 1878–1956), West Virginia Hills, 1919. One side of two-sided woodblock, 12 ¾ x 12 ¾ x 1 ¼ in. (32.4 x 32.4 x 3.2 cm). Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, Ralph and Barbara Voorhees American Art Fund, 82.027.002.
The Woodcut Technique
The woodcut technique has been used to make printed works of art since the 1400s. To make a black and white woodcut print, the artist draws a design on the smoothed surface of a block of wood or otherwise works directly on the block to create an image. The artist carves the design into the woodblock so that the part to be printed is raised, or stands in relief, and the areas around these lines are cut away. Ink is then applied to the surface and sticks to the raised design, which prints when the block is pressed onto white paper. The areas that were cut away correspond to the white or unprinted areas of the print. Black and white prints can be colored by hand, but printmakers have developed ways to print in color. Most color woodblock prints require the carving of several blocks: there is one block with the outlines of the full design to be printed, called the key block, and a block for each
color, carved with only the sections of the design to be printed in that color. Each block must be inked and printed in a particular sequence: for a print with five different colors, this means that the same sheet of paper will receive impressions from each of five blocks, with particular care taken to align each block on its proper place on the paper—a process known as registration. The singleblock technique, also known as the white-line woodcut, was devised to avoid the carving of multiple blocks: colors were applied and printed one at a time to the surface of a woodblock carved with the print’s entire design. Artists may carve, ink, and print their designs themselves, although for large and complex prints they often employ specialists to assist them. While many artists prefer to do their own printing, others, particularly since the 1960s, have generally collaborated with master printers in order to realize their color woodcuts.
wider exposure of color woodcut printmaking. In California, Frances Gearhart (1869–1958; nos. 34–36) earned acclaim for her woodcuts depicting scenic landscapes of the western United States, while Edna Boies Hopkins (1872–1937) created captivating woodcuts of flowers, which were featured in a 1917 solo exhibition at the Cincinnati Art Museum (nos. 38–39). Hopkins was among a group of printmakers, which also included Nordfeldt and Gustave Baumann (1881–1971; nos. 11 and 12), who summered in Provincetown, Massachusetts, and who helped to make the small town an innovative center for color woodcut printmaking. Although not an original member of the Provincetown Printers, Blanche Lazzell (1878–1956; nos. 60–63), who was raised in West Virginia and who studied art in New York and Paris, became one
of its leading figures when she took up the white-line woodcut technique that Nordfeldt had initially developed around 1916. Seeking a simpler way to print color woodcuts, Nordfeldt abandoned the complex use of multiple woodblocks for a process that uses a single block for printing every color of the composition. In order to create boundaries on the block between areas with
5. Seong Moy (American, born China, 1921) Classical Horse and Rider, 1953 Color woodcut, 28 1⁄8 x 18 13⁄16 in. (71.5 x 47.8 cm). Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, gift of Dr. David and Ruth Robinson Eisenberg, 2000.0054. © Seong Moy.
different colors, the artist carved a groove around each form; these grooves printed as white lines in the resulting impression. In West Virginia Hills (1919; figure 3), one of her early prints in the medium, Lazzell depicted an expansive landscape in her home state using simplified forms whose curved white-line borders create a rhythmic structure for the composition. The woodblock for this print, a work of art in itself (figure 4 and back cover), is one of the rare survivors from among Lazzell’s two-sided blocks; she first carved the block for her composition Wayside, then used the other side to create West Virginia Hills. Like Dow, Lazzell considered each impression of her color woodcut prints to be unique and often printed compositions in color combinations that varied from one impression to the next. In 1923, Lazzell spent several months in Paris, where she absorbed the cubist and abstract styles that dominated contemporary painting, and her later color woodcuts, with their strongly constructed geometric compositions, reflect this study (no. 62). The movement known as Abstract Expressionism, which became an increasingly strong force in American painting during the 1940s, inspired similar developments in color woodcut printmaking through the 1950s. Artists including Adja Yunkers (1900–1983; nos. 106 and 107), Anne Ryan (1889–1954; no. 97), Werner Drewes (1899–1985; nos. 26–30), and Seong Moy (born 1921; nos. 76–81) created boldly colored works on a larger scale whose complex compositions required an equally complex carving and printing process. Moy’s Classical Horse and Rider (1953; figure 5) is an intricately layered composition whose calligraphically rendered horse and rider match the energetic sweeps of color that form the background. Looking to the Past, Looking to the Future 1960s to 2009 Since the 1960s, when American printmaking in all techniques enjoyed a surge of interest from both artists and collectors, color woodcut printmaking has become an important facet of
6. Jim Dine (American, born 1935), Yellow Enamel, 2006. Woodcut and hand painting, 63 x 47 ¼ in. (160 x 120 cm). Courtesy of Pace Prints Chelsea, New York. © Jim Dine / Artists Rights Society (ARS), New York
contemporary art. Artists working in the medium honor the long tradition of color printmaking while pushing its technical boundaries and exploring their most current artistic ideas. Jim Dine (born 1935) and Helen Frankenthaler (born 1928) made groundbreaking color woodcuts during the 1970s that inspired other prominent artists to work in the medium, and they continue to make color woodcut prints to develop their subject matter in new ways. Dine’s woodcuts have explored the hearts, tools, and paintbrushes that are a long-established part of his oeuvre as well as newly introduced iconography. In July on the Palouse (2007; no. 22), Dine created a monumental print of a bathrobe, a recurring motif in his work since the 1960s, which serves as a kind of selfportrait, while Yellow Enamel (2006; figure 6) is part of his recent exploration (in sculpture and prints) of Pinocchio, the wooden puppet who becomes a real boy. As a youth, Dine first learned the Pinocchio story from seeing the Walt Disney film, and later he read the much darker original story by Carlo Collodi. In this woodcut, which shows a cheeky Pinocchio’s growing nose extending off the sheet, Dine’s process mirrors his subject, with wood coming to life through the artist’s touch. Helen Frankenthaler’s woodcuts
7. Helen Frankenthaler (American, born 1928). Japanese Maple, 2005. Color woodcut, 26 x 38 in. (66 x 96.5 cm). Courtesy of Pace Prints Chelsea, New York. © Helen Frankenthaler / Artists Rights Society (ARS), New York
capture her distinctive style of painting, in which she instinctively applies color in large, abstract sweeps. Her recent prints Geisha (2003; no. 31) and Japanese Maple (2005; figure 7) acknowledge the tradition of Japanese ukiyo-e prints with their evocative titles and saturated colors. The amorphous forms of Japanese Maple suggest a landscape of deep red mesalike features rising above a horizon, with the prominent wood grain printed in the upper part of the composition evoking cloud formations at sunset. In Blue with Red (1987; figure 8), the freely drawn geometric forms and surface variety that characterize the abstract paintings by Richard Diebenkorn (1922–1993) are expertly translated into print, with thin inks carefully layered to create areas of transparency and opacity throughout the large fields of color. Recent work by
8. Richard Diebenkorn (American, 1922–1993) Blue with Red, 1987 Color woodcut, 37 3⁄8 x 25 3⁄8 in. (94.5 x 64.5 cm) Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, gift of Dr. David and Ruth Robinson Eisenberg, 1999.0474. © The Estate of Richard Diebenkorn
9. Donald Judd (American, 1928–1994), Untitled, 1994. Color woodcut, 24 13⁄16 x 37 5⁄8 in. (63.1 x 95.5 cm). Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, gift of Maurice Sánchez, Derrière L’Étoile Studios, 2008.012.086.01. © Judd Foundation. Licensed by VAGA, New York, New York.
Karen Kunc (born 1952; nos. 55–59), a printmaker specializing in color woodcuts since the late 1970s, continues to investigate what she calls “nature-based abstraction” in her richly colored prints. Artists working in a minimalist style created series of color woodcuts as a means of furthering their art of pure form and color. In a variation on her practice of appropriating famous European paintings or American photographs in her work, Sherrie Levine (born 1947) used computer technology to reduce to their essential colors four paintings, which were then printed with square woodblocks of equal size to create subtle grids for her Meltdown print series (1987; nos. 64–67). In one of his last editions, Donald Judd (1928–1994; nos. 50–53), a seminal minimalist artist, again distilled material, space, and color—what he considered the main aspects of visual art—to precise stripes of cadmium red that alternate with parallel white lines, which are the uninked portions
of the paper (1994; figure 9). Essentially creating a two-color woodcut by printing a single color, Judd further complicated the seeming simplicity of this series by making slight variations on the composition in each print. More recently, Dan Walsh (born 1960; nos. 103–105) and Polly Apfelbaum (born 1955; nos. 6–9) created print series of precisely ordered colored rectangles that emphasize the woodblock’s solidity and stability rather than its malleability. The color woodcut is also an expressive vehicle for contemporary figural compositions. Richard Bosman (born 1944; nos. 13–15) cultivates a quality of rough carving in his narrative and representational works to enhance their emotional content. His deliberately unrefined style forms a sharp contrast with the delicately rendered prints of Francesco Clemente (born 1952), the transparent colors of which are sometimes mistaken for watercolor applied with a brush. In Clemente’s Self-Portrait with Lemon Heart (2008; no. 17), one of the provocative self-portraits he has made throughout his career, a tension between solidity and evanescence is created by the dark shadows that contrast with the subtle shifts of lighter tones throughout the composition. Like their counterparts working in the early 1900s, contemporary color woodcut printmakers continue to discover the technical and creative possibilities of this venerable technique. Whether they are inspired by its long artistic tradition or the challenge of color woodcut’s particular demands, artists still find the medium to be a dynamic vehicle for beautiful, innovative, and exciting work. Christine Giviskos Associate Curator of Nineteenth-Century European Art, Morse Research Center for Graphic Arts
Catalogue of the Exhibition All works are in the collection of the Jane Voorhees Zimmerli Art Museum at Rutgers, The State University of New Jersey, unless otherwise specified. Dimensions are cited with height preceding width and indicate image size. Illustrated works are indicated with an asterisk (*). The abbreviation “RAPS” stands for the Zimmerli Art Museum’s Rutgers Archives for Printmaking Studios.
1. Irving Amen (American, born 1918) Promenade, 1953 Color woodcut 18 7⁄16 x 17 7⁄8 in. (46.8 x 48 cm) Gift of the International Council of the Museum of Modern Art, 84.054.066 2. Irving Amen The Creation, 1971 Color woodcut 23 15⁄16 x 18 7⁄8 in. (60.8 x 48 cm) Gift of Irene Shapiro, 1988.0035 3. Sybil Andrews (Canadian, born England, 1898–1992) The New Cable, 1931 Color linocut 13 15⁄16 x 18 ¼ in. (35.5 x 46.3 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2000.0305 4. Sybil Andrews Speedway, 1934 Color linocut 14 3⁄16 x 10 5⁄8 in. (36 x 27 cm.) Gift of Dr. David and Ruth Robinson Eisenberg, 2000.0309
5. Sybil Andrews Windmill, 1933 Color linocut 14 1⁄16 x 10 7⁄16 in. (35.7 x 26.5 cm.) Gift of Dr. David and Ruth Robinson Eisenberg, 2000.0310 6-9. Polly Apfelbaum (American, born 1955) Wood Street Series, 2007 Four color woodcuts Each 18 x 16 in. (45.7 x 40.6 cm.) Printer: Jean-Paul Russell assisted by Jason Depew, Chris McDermott, and Jacqueline Quinn, Durham Press, Durham, Pennsylvania Publisher: Durham Press, Durham, Pennsylvania Courtesy of Polly Apfelbaum and Durham Press, Inc. 10. David Bates (American, born 1952) White Roses, 2007 Color woodcut 40 x 30 in. (101.6 x 76.2 cm.) Printer: Mae Shore, Justin Isreals, and Cathleen Mooses, Pace Editions Ink, New York Publisher: Pace Editions, Inc., New York Courtesy of Pace Prints Chelsea, New York
11. Gustave Baumann (American, born Germany, 1881-1971) Song of the Sea, 1932-36 Color woodcut 17 x 14 3⁄8 in. (43.2 x 36.5 cm.) Ralph and Barbara Voorhees American Art Fund, 83.005.014 12. Gustave Baumann San Miguel de Santa Fe, 1949 Color woodcut 15 1⁄16 x 13 3⁄8 in. (38.3 x 34 cm.) Ralph and Barbara Voorhees American Art Fund, 83.005.012 13. Richard Bosman (American, born India, 1944) Leap, 1982 Color woodcut (printer’s proof) 33 1⁄16 x 16 7⁄8 in. (84 x 43 cm.) Printers: Chip Elwell and Ted Warner, Chip Elwell, New York RAPS member, 1982-89 Publisher: Brooke Alexander, Inc., New York Gift of Chip Elwell, 82.047.005.01 14. Richard Bosman Bridges II, 1996 Color woodcut 23 ¼ x 29 5⁄8 in. (59 x 75.3 cm.) Printer: Janice Stemmermann, assisted by K. Driscoll, Brooklyn Press, Brooklyn RAPS member, 1995-97 Publisher: John Szoke Editions, New York Gift of Janice Stemmermann, Brooklyn Press, 1997.0234.002
15. Richard Bosman Green Canoe, 2003 Color woodcut 25 5⁄8 x 38 in. (60.5 x 96.5 cm.) Printers: Rodney Doyle and Suzanne Sattler, Solo Impression, Inc., New York RAPS member since 1982 Publisher: Solo Impression, Inc., New York Gift of Judith Solodkin, Solo Impression, Inc., 2004.0077 16. Mel Chin (American, born 1951) Flag of the Agricultural Revolution, 1997 Color woodcut (printer’s proof) 22 x 30 in. (55.9 x 76.2 cm.) Printers: Randy Hemminghaus and Jonathan Higgins, Vinalhaven Press, Maine Publisher: Vinalhaven Press, Maine Lent by Randy Hemminghaus, Master Printer, Brodsky Center for Innovative Editions at Rutgers, The State University of New Jersey 17. Francesco Clemente (Italian, active in New York, born 1952) Self-Portrait with Lemon Heart, 2008 Color woodcut 24 x 18 in. (61 x 45.8 cm.) Printer: Yasuyuki Shibata, Pace Editions Ink, New York Publisher: Pace Editions, Inc., New York Courtesy of Pace Editions Chelsea, New York 18. Robert Conover (American, 1920-1998) Night in the City, 1952 Color woodcut 16 9⁄16 x 14 3⁄8 in. (41.5 x 43.4 cm.) Gift of the International Council of the Museum of Modern Art, 84.054.061
19. Pedro De Lemos (American, 1882-1954) Driftwood (Oakland Estuary), 1917 Color woodcut 13 1⁄16 x 9 5⁄8 in. (33.2 x 24.4 cm.) Ralph and Barbara Voorhees American Art Fund, 83.005.015 *20. Richard Diebenkorn (American, 1922-1993) Blue with Red, 1987 Color woodcut 37 3⁄8 x 25 3⁄8 in. (94.5 x 64.5 cm.) Printer: Tadashi Toda, Crown Point Press, San Francisco Publisher: Crown Point Press, San Francisco Gift of Dr. David and Ruth Robinson Eisenberg, 1999.0474 *21. Jim Dine (American, born 1935) Yellow Enamel, 2006 Woodcut and hand painting 63 x 47 ¼ in. (160 x 120 cm.) Printer: Michael Woolworth Publications, Paris, France Publisher: Pace Editions, Inc., New York Courtesy of Pace Prints Chelsea, New York 22. Jim Dine July on the Palouse, 2007 Woodcut with hand coloring 70 ½ x 48 in. (179.1 x 121.9 cm.) Printers: Ruth Lingen, Julia D’ Amario, Aurelie Pages, David Bradway, and Lisa Anderson, Pace Editions Ink, New York Publisher: Pace Editions, Inc., New York Courtesy of Pace Prints Chelsea, New York 23. Arthur Wesley Dow (American, 1857–1922) Bridge Over Stream, Ipswich, 1893-94 Color woodcut 6 5⁄16 x 3 ½ in. (16 x 8.9 cm.) Ralph and Barbara Voorhees American Art Fund, 1987.0240
*24. Arthur Wesley Dow The Derelict (The Lost Boat), 1916 Color woodcut 17 1⁄16 x 5 3⁄8 in. (17.7 x 13.8 cm.) Acquired with the Brother International Corporation Japonisme Art Acquisition Fund, 1996.0372.001 25. Arthur Wesley Dow The Flowering Orchard, 1921 Color woodcut 5 5⁄16 x 7 15⁄16 in. (13.5 x 20.2 cm.) Acquired with the Brother International Corporation Japonisme Art Acquisition Fund, 1996.0364.001 26. Werner Drewes (American, born Germany, 1899-1985) The Gravel Pit, 1955 Color woodcut 20 11⁄16 x 26 3⁄16 in. (52.5 x 66.5 cm.) Gift of Dr. David and Ruth Robinson Eisenberg, 2004.0394 27. Werner Drewes Summer Heat, 1978 Color woodcut 19 1⁄16 x 24 3⁄16 in. (48.5 x 61.4 cm.) Gift of Dr. David and Ruth Robinson Eisenberg, 2004.0393 28. Werner Drewes Prairie Sunset, 1980 Color woodcut 16 7⁄8 x 24 3⁄16 in. (43 x 61.5 cm.) Gift of Dr. David and Ruth Robinson Eisenberg, 2004.0390 29. Werner Drewes Dynamic Thrust, 1982 Color woodcut 14 ¾ x 21 1⁄8 in. (37.5 x 53.6 cm.) Gift of Dr. David and Ruth Robinson Eisenberg, 2004.0383
30. Werner Drewes Flight, 1982 Color woodcut 15 1⁄8 x 25 in. (38.5 x 63.5 cm.) Gift of Dr. David and Ruth Robinson Eisenberg, 2004.0385
35. Frances Gearhart Forest Lake, 1915 Color woodcut 14 1⁄2 x 8 ¼ in. (36.8 x 21 cm.) Ralph and Barbara Voorhees American Art Fund, 83.005.009
31. Helen Frankenthaler (American, born 1928) Geisha, 2003 Color woodcut 38 x 26 in. (96.5 x 66 cm.) Printer: Yasuyuki Shibata, Pace Editions Ink, New York Publisher: Pace Editions, Inc., New York Courtesy of Pace Prints Chelsea, New York
36. Edna Gearhart (American, 1879-1974) Frances Gearhart May Gearhart (American, 1872-1951) Lost Balloon, 1929 Color linocut 9 5⁄16 x 10 ¾ in. (23.7 x 27.3 cm.) Ralph and Barbara Voorhees American Art Fund, 83.005.007
*32. Helen Frankenthaler Japanese Maple, 2005 Color woodcut 26 x 38 in. (66 x 96.5 cm) Printer: Yasuyuki Shibata, Pace Editions Ink, New York Publisher: Pace Editions, Inc., New York Courtesy of Pace Prints Chelsea, New York 33. Antonio Frasconi (American, born Argentina, 1919) Monterey Fisherman, 1951 Color woodcut diptych 21 1⁄8 x 35 ¼ in. (53.7 x 89.6 cm.) Gift of the International Council of the Museum of Modern Art, 84.054.097 34. Frances Gearhart (American, 1869–1958) Trees and Lake, 1910 Color woodcut 7 ¼ x 4 7⁄8 in. (18.5 x 12.5 cm.) Ralph and Barbara Voorhees American Art Fund, 83.005.010
37. Red Grooms (American, born 1937) Noa Noa, 1991 Color woodcut (printer’s proof) 20 5⁄16 x 30 5⁄16 in. (51.5 x 77 cm.) Printers: Bud Shark and Matthew Christie, Shark’s Ink, Colorado Publisher: Shark’s Ink, Colorado Gift of Shark’s Ink, 1992.0060 38. Edna Boies Hopkins (American, 1872-1937) Acacia, 1906-7 Color woodcut 15 ¾ x 10 in. (40 x 25.5 cm.) Ralph and Barbara Voorhees American Art Fund, 1986.0035 39. Edna Boies Hopkins Veronica (Plant), 1907–8 Color woodcut 11 x 7 ¼ in. (28 x 18.4 cm) Gift of University College Rutgers New Brunswick Alumni Association, 1989.0132
40. Edna Boies Hopkins Mary’s Grandmother, 1917 Color woodcut 10 1⁄8 x 9 1⁄16 in. (25.6 x 23.1 cm) Ralph and Barbara Voorhees American Art Fund, 1986.0147 41. Edna Boies Hopkins The Mountaineer, 1917 Color woodcut 10 1⁄8 x 9 1⁄16 in. (25.7 x 23 cm) Ralph and Barbara Voorhees American Art Fund, 1986.0148 42. Edna Boies Hopkins Donkeys, 1920–23 Color woodcut 15 ¾ x 11 5⁄8 in. (40 x 29.5 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2000.0074 *43. Helen Hyde (American, 1868–1919) The Sauce-Pan Shop, 1908 Color woodcut 13 1⁄16 x 18 in. (33.1 x 45.7 cm) Ralph and Barbara Voorhees American Art Fund, 1986.0056 44. Helen Hyde A Mexican Coquette, 1912 Woodcut 12 3⁄16 x 15 11⁄16 in. (31 x 39.8 cm) Gift of Tim and Lynn Mason, 1997.0288.002 45. Helen Hyde A Mexican Coquette, 1912 Color woodcut 12 3⁄8 x 15 11⁄16 in. (31.4 x 39.8 cm) Gift of Tim and Lynn Mason, 1997.0288.001
46. Helen Hyde Mount Orizaba, 1912 Color woodcut 13 3⁄16 x 11 in. (33.5 x 27.9 cm) Museum Purchase, 1998.0029 47. Helen Hyde Blossom Time in Tokyo, 1914 Color woodcut 18 5⁄8 x 11 ¾ in. (47.3 x 24.8 cm) Ralph and Barbara Voorhees American Art Fund, 82.012.017 48. Helen Hyde Complaints, 1914 Color woodcut 10 11⁄16 x 5 5⁄8 in. (27.2 x 14.3 cm) Gift of Tim and Lynn Mason, 1997.0284 49. Helen Hyde The Family Umbrella, 1915 Color woodcut 10 13⁄16 x 7 7⁄16 in. (27.3 x 18.9 cm) Museum Purchase, 1998.0028 *50–53. Donald Judd (American, 1928–1994) Untitled, 1994 Four color woodcuts (printer’s proofs) 24 13⁄16 x 37 5⁄8 in. (63.1 x 95.5 cm) Printers: Maurice Sánchez and James Miller, Derrière L’Étoile Studios, New York RAPS member since 1982 Publisher: Brooke Alexander Editions, New York Gift of Maurice Sánchez, Derrière L’Étoile Studios, 2008.012.086.01-02, 2008.012.086.04, 2008.012.086.07
54. Alex Katz (American, born 1927) Forest, 2008 Color woodcut 30 x 68 in. (76.2 x 172.7 cm) Printers: Chris Sukimoto, Jessie Archambault, and Casey Little, Simmelink/ Sukimoto Editions, Kingston, New York Publisher: Simmelink/Sukimoto Editions, Kingston, New York Courtesy the artist and Senior and Shopmaker Gallery, New York
57. Karen Kunc Unbound Above, 1989 Color woodcut (artist’s proof) 23 ¼ x 38 9⁄16 in. (59.1 x 98 cm) Printers: Donald Farnsworth and Karen Kunc, Magnolia Editions, Oakland, California RAPS member 1985–2003 Publishers: Magnolia Editions, Oakland, California Gift of Magnolia Editions, 1991.0197
55. Karen Kunc (American, born 1952) Currents Edge, 1987 Color woodcut 22 5⁄16 x 39 3⁄16 in. (56.7 x 99.5 cm) Printers: Donald Farnsworth and Karen Kunc, Magnolia Editions, Oakland, California RAPS member 1985–2003 Publishers: Karen Kunc and Magnolia Editions Gift of Magnolia Editions, 1987.0321
58. Karen Kunc System, 2007 Color woodcut 14 x 14 in. (35.5 x 35.5 cm) Printer: the artist Publisher: the artist Lent by the artist
56. Karen Kunc Whirling World Below, 1989 Color woodcut (artist’s proof) 23 x 38 9⁄16 in. (58.5 x 97.9 cm) Printers: Donald Farnsworth and Karen Kunc, Magnolia Editions, Oakland, California RAPS member 1985–2003 Publishers: Magnolia Editions, Oakland, California Gift of Magnolia Editions, 1991.0196
59. Karen Kunc Morphic Order, 2008 Color woodcut 18 x 18 in. (45.7 x 45.7 cm) Printer: the artist Publisher: the artist Lent by the artist *60. Blanche Lazzell (American, 1878–1956) West Virginia Hills, 1919; and Wayside, 1917–18 Two-sided woodblock 12 ¾ x 12 ¾ x 1 ¼ in. (32.4 x 32.4 x 3.2 cm) Ralph and Barbara Voorhees American Art Fund, 82.027.002 *61. Blanche Lazzell West Virginia Hills, 1919 Color woodcut 15 ¾ x 14 9⁄16 in. (40 x 37 cm) Ralph and Barbara Voorhees American Art Fund, 82.027.001
62. Blanche Lazzell Cubist Composition, 1925 Color woodcut 11 1⁄8 x 8 7⁄16 in. (28.2 x 21.5 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2002.0054 63. Blanche Lazzell The Hand Cart, 1932 Color woodcut 13 x 15 7⁄16 in. (33 x 39.3 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2000.0387 64. Sherrie Levine (American, born 1947) Meltdown–After Duchamp, 1989 Color woodcut (printer’s proof) 36 3⁄16 x 25 ¾ in. (92 x 65.5 cm) Printers: James Miller, Maurice Sánchez, and Lucy Gray, Derrière L’Étoile Studios, New York RAPS member since 1982 Publisher: Peter Blum Edition, New York Gift of Maurice Sánchez, Derrière L’Étoile Studios, 2008.012.114 65. Sherrie Levine Meltdown–After Kirchner, 1989 Color woodcut (printer’s proof) 36 7⁄16 x 25 ¾ in. (92.5 x 65.5 cm) Printers: James Miller, Maurice Sánchez, and Lucy Gray, Derrière L’Étoile Studios, New York RAPS member since 1982 Publisher: Peter Blum Edition, New York Gift of Maurice Sánchez, Derrière L’Étoile Studios, 2008.012.115
66. Sherrie Levine Meltdown–After Mondrian, 1989 Color woodcut (printer’s proof) 36 7⁄16 x 25 ¾ in. (92.5 x 65.5 cm) Printers: James Miller, Maurice Sánchez, and Lucy Gray, Derrière L’Étoile Studios, New York RAPS member since 1982 Publisher: Peter Blum Edition, New York Gift of Maurice Sánchez, Derrière L’Étoile Studios, 2008.012.116 67. Sherrie Levine Meltdown–After Monet, 1989 Color woodcut (printer’s proof) 36 7⁄16 x 25 9⁄16 in. (92.5 x 65 cm) Printers: James Miller, Maurice Sánchez, and Lucy Gray, Derrière L’Étoile Studios, New York RAPS member since 1982 Publisher: Peter Blum Edition, New York Gift of Maurice Sánchez, Derrière L’Étoile Studios, 2008.012.117 68. Los Carpinteros [a Cuban collective: Marco Antonio Castillo Valdes (born 1971), Dagoberto Rodrigues Sánchez (born 1969), and Alexandre Arrechea (born 1973)] Escalera [Staircase], 1997 Color woodcut (printer’s proof) 73 x 36 ½ in. (185.4 x 92.7 cm) Printers: Randy Hemminghaus, Alan Flint, and Christopher Clarke, Vinalhaven Press, Maine Publisher: Vinalhaven Press, Maine Lent by Randy Hemminghaus, Master Printer, Brodsky Center for Innovative Editions at Rutgers, The State University of New Jersey 69. Bertha Lum (American, 1879–1954) Fishermen, 1912 Color woodcut 9 7⁄8 x 5 5⁄8 in. (25.1 x 14.4 cm) Ralph and Barbara Voorhees American Art Fund, 1986.0896
70. Bertha Lum Tanabata, 1912 Color woodcut 15 5⁄16 x 7 7⁄16 in. (38.8 x 18.8 cm) Ralph and Barbara Voorhees American Art Fund, 1987.0027 71. Robert Mangold (American, born 1937) Split Ring Image C, 2009 Color woodcut 31 ¼ x 30 ½ in. (79.4 x 77.5 cm) Printer: Chris Sukimoto, Simmelink/ Sukimoto Editions, Kingston, New York Publisher: Simmelink/Sukimoto Editions, Kingston, New York Courtesy the artist and Senior and Shopmaker Gallery, New York
75. Richard Mock (American, 1944–2006) High Altitude Kite Flyer, 1985 Color woodcut 40 9⁄16 x 30 in. (103 x 76.2 cm) Printers: Chip Elwell and Ted Warner, New York RAPS member 1982–89 Publisher: Anderson Ranch Arts Center, Snowmass, Colora Gift of Mr. and Mrs. P. S. Skaff, 1988.0048 76. Seong Moy (American, born China, 1921) Act in Space, 1949 Color woodcut 15 ¾ x 19 9⁄16 in. (40 x 49.7 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0042
72. Leonard Maurer (American, 1912–1976) Hokusai, 1969 Color woodcut 22 5⁄8 x 26 ¾ in. (57.5 x 68 cm) Gift of Alice and David Sengstack, 1990.0390
77. Seong Moy Inscription of T’Chao Pae, 1950 Color woodcut 27 15⁄16 x 11 ½ in. (71 x 29.2 cm) Gift of the International Council of the Museum of Modern Art, 84.054.015
73–74. Michael Mazur (American, 1935–2009) Gail’s Island I and Gail’s Island II, 2008 Color etching and aquatint with woodcut Each 28 3⁄8 x 25 in. (72.1 x 63.5 cm) Printers: the artist and Jessica Merrell, Cambridge, Massachusetts Publisher: the artist, Cambridge, Massachusetts Courtesy of the artist and Mary Ryan Gallery, New York
78. Seong Moy Kuang Kung, 1951 Color woodcut 19 13⁄16 x 15 ¾ in. (50.3 x 40 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0441 *79. Seong Moy Classical Horse and Rider, 1953 Color woodcut 28 1⁄8 x 18 13⁄16 in. (71.5 x 47.8 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2000.0054
80. Seong Moy Two Circus Acts in One, 1953 Color woodcut 15 15⁄16 x 19 ½ in. (40.5 x 49.5 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0447 81. Seong Moy The Little “500,” 1958 Color woodcut 26 3⁄16 x 35 7⁄16 in. (66.5 x 90 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0440 82. Bror Julius Olsson Nordfeldt (American, born Sweden, 1878–1955) Crossing the Bridge, 1906 Color woodcut 8 3⁄8 x 10 5⁄8 in. (21.2 x 27 cm) Purchased with funds from the Mary Bartlett Cowdrey Estate, 78.021.001 83. Bror Julius Olsson Nordfeldt Two Men Digging, 1906 Color woodcut 11 13⁄16 x 8 1⁄8 in. (30 x 20.5 cm) Purchased with funds from the Mary Bartlett Cowdrey Estate, 78.021.003 84. Bror Julius Olsson Nordfeldt Wave with Gulls, 1906 Color woodcut 9 7⁄16 x 11 ½ in. (24 x 29.3 cm) Purchased with funds from the Mary Bartlett Cowdrey Estate, 78.021.006 85. Bror Julius Olsson Nordfeldt The Branch (Aspen Bough in Moonlight), 1906 Color woodcut 11 13⁄16 x 8 ¼ in. (30 x 21 cm) Purchased with funds from the Mary Bartlett Cowdrey Estate, 78.021.008
86. Bror Julius Olsson Nordfeldt The Branch (Aspen Bough in Moonlight), 1906 Color woodcut 12 13⁄16 x 8 5⁄8 in. (31 x 22 cm) Purchased with funds from the Mary Bartlett Cowdrey Estate, 78.021.009 87. Margaret Jordan Patterson (American, born Java, 1869–1950) Sailboat, 1915 Color woodcut 10 5⁄16 x 7 ¼ in. (26.2 x 18.5 cm) Ralph and Barbara Voorhees American Art Fund, 81.033.117 88. Margaret Jordan Patterson Nantucket, 1920 Color woodcut 7 11⁄16 x 10 5⁄8 in. (19.5 x 27 cm) Gift of Dr. Julian B. Hyman in memory of Elaine Hyman, 2008.025.001 89. Walter Joseph Phillips (American, born England, 1884–1963) Water Lilies, 1927 Color woodcut 5 13⁄16 x 7 7⁄8 in. (14.7 x 20 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0526 90. Walter Joseph Phillips Nasturtiums, 1928 Color woodcut 7 x 7 7⁄16 in. (17.7 x 19 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0529
91. Howardena Pindell (American, born 1943) Peter Squares Waterfall, Johnson, Vermont, 1986 Color woodcut with chine-collé (archival proof) 25 ¾ x 35 13⁄16 in. (65.5 x 90.0 cm) Printers: Judith Solodkin and Peter Kruty, Solo Press, Inc., New York RAPS member since 1982 Publisher: Ariana Foundation for the Arts, Inc., New York Gift of Judith Solodkin, Solo Press, Inc., 1986.1303 92. Leonard Pytlak (American, 1910–1998) Clam Hunting, 1937 Color woodcut 10 7⁄16 x 12 3⁄8 in. (26.5 x 31.5 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2000.0059 93. Charles Quest (American, 1904–1993) Attic Forms #2, 1950 Color woodcut 19 ¾ x 7 7⁄8 in. (50.2 x 20.1 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0547 94. Charles Quest Two Women, 1946 Color woodcut 18 1⁄16 x 11 5⁄16 in. (45.8 x 28.7 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0550 95. William Seltzer Rice (American, 1873–1963) Fisherman’s Wharf, 1916 Color woodcut 11 3⁄8 x 7 7⁄16 in. (29 x 18.9 cm) Ralph and Barbara Voorhees American Art Fund, 1987.0026
96. William Seltzer Rice Salmon Fleet–Oakland Estuary, 1917 Color woodcut 11 7⁄8 x 14 5⁄16 in. (30.2 x 36.4 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2000.0061 97. Anne Ryan (American, 1889–1954) In a Street, 1946 Color woodcut 14 9⁄16 x 19 1⁄16 in. (37.1 x 48.5 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0609 98. John Francis Torreano (American, born 1941) Emerald, 1990 Color woodcut 29 3⁄8 x 36 1⁄16 in. (74.6 x 91.6 cm) Printers: Jon McCafferty and Rebecca Lax, Solo Press, Inc., New York RAPS member since 1982 Publisher: Solo Press, Inc., New York. Gift of Judith Solodkin, Solo Impression, Inc., 1993.0143.001 99. Ansei Uchima (American, 1921–2000) Joy, 1958 Color woodcut 22 7⁄16 x 16 11⁄16 in. (57 x 42.5 cm) Gift of Herbert D. and Ruth Schimmel, 78.002.016 100. Ansei Uchima Reflections in Rain, 1965 Color woodcut 24 x 17 11⁄16 in. (61 x 45 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0770
101. Ansei Uchima Mexican Valley, 1966 Color woodcut 15 9⁄16 x 19 13⁄16 in. (39.5 x 50.3 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0767 102. Ansei Uchima Forest Weaver (Bathers-TWO-Cobalt), 1982 Color woodcut 32 1⁄16 x 22 3⁄16 in. (81.5 x 56.4 cm) Gift of Dr. David and Ruth Robinson Eisenberg, 2006.0766 103. Dan Walsh (American, born 1960) OGV–Violet, 2007 Color woodcut 21 ½ x 47 ½ in. (54.6 x 120.6 cm) Printer: Watanabe Press, Brooklyn, New York Publisher: Pace Editions, Inc., New York Courtesy of Pace Prints Chelsea, New York 104. Dan Walsh OGV–Green, 2007 Color woodcut 21 ½ x 47 ½ in. (54.6 x 120.6 cm) Printer: Watanabe Press, Brooklyn, New York Publisher: Pace Editions, Inc., New York Courtesy of Pace Prints Chelsea, New York 105. Dan Walsh OGV–Orange, 2007 Color woodcut 21 ½ x 47 ½ in. (54.6 x 120.6 cm) Printer: Watanabe Press, Brooklyn, New York Publisher: Pace Editions, Inc., New York Courtesy of Pace Prints Chelsea, New York
106. Adja Yunkers (American, born Latvia, 1900–1983) Miss Ever Ready, 1952 Color woodcut 19 ½ x 12 11⁄16 in. (49.6 x 32.2 cm) Publisher: Ted Gotthelf, Rio Grande Graphics, New York Gift of the International Council of the Museum of Modern Art, 84.054.005 107. Adja Yunkers Head of a Traveler, 1952 Color woodcut 15 3⁄8 x 10 ¾ in. (38.6 x 26.7 cm) Publisher: Ted Gotthelf, Rio Grande Graphics, New York Gift of the International Council of the Museum of Modern Art, 84.054.007
Jane Voorhees Zimmerli Art Museum Rutgers, The State University of New Jersey 71 Hamilton Street New Brunswick, New Jersey 08901-1248 T. (732) 932.7237 www.zimmerlimuseum.rutgers.edu