"In lively memoirs and analyses, the artists tell the story of the evolving print program at Madison."--BOOK JACKET.

A series of interviews concentrating on the development of printmaking in the Art Department since World War II. These interviews provided primary source material for the book Progressive Printmakers: Wisconsin Artists and the Print Renaissance (Madison: University of Wisconsin Press, 1999), by Warrington Colescott and Arthur Hove:

With a sharp eye for the ludicrous in American society and an abiding sense of humor, Wisconsin artist Ray Gloeckler creates images that lampoon the inflated and celebrate the everyday. This publication goes beyond the Elvehjem's (now Chazen's) 2004 exhibition to publish over 200 prints Gloeckler made from 1955 through 2004. Distributed for the Chazen Museum of Art, University of Wisconsin-Madison

An engaging look at early twentieth-century American printmaking, which frequently focused on the crowded, chaotic, and gritty modern city. In the first half of the twentieth century, a group of American artists influenced by the painter and teacher Robert Henri aimed to reject the pretenses of academic fine art and polite society. Embracing the democratic inclusiveness of the Progressive movement, these artists turned to making prints, which were relatively inexpensive to produce and easy to distribute. For their subject matter, the artists mined the bustling activity and stark realities of the urban centers in which they lived and worked. Their prints feature sublime towering skyscrapers and stifling city streets, jazzy dance halls and bleak tenement interiors—intimate and anonymous everyday scenes that addressed modern life in America. True Grit examines a rich selection of prints by well-known figures like George Bellows, Edward Hopper, Joseph Pennell, and John Sloan as well as lesser-known artists such as Ida Abelman, Peggy Bacon, Miguel Covarrubias, and Mabel Dwight. Written by three scholars of printmaking and American art, the essays present nuanced discussions of gender, class, literature, and politics, contextualizing the prints in the rapidly changing milieu of the first decades of twentieth-century America.

On the 50th anniversary of Picasso's (1881-1973) death, a book devoted to the progressive proofs by the leading Spanish master. While there has been considerable interest in Pablo Picasso's late work over the past several decades, and some of that interest directed at the artist's work in the linoleum print medium, there remains much to discover regarding this aspect of his prodigious printmaking activities, and specifically on the role played by the progressive proof. There has been an uptick in the acquisition of these sets of proofs by museums and private collectors over the past twenty years but exhibitions and published accounts have lagged behind. With this present project we examine for the first time in depth a particularly illuminating set of eight progressive proofs made by Picasso and his printer Hidalgo Arnéra for the artist's first published linocut, the so-called Cranach II (Baer 1053; 1958). The first in a series in the medium of linoleum block prints (after a singular effort in 1939), Picasso created the first Portrait of a Young Girl after Cranach the Younger in two colors and in the same orientation as the Cranach original on 3 July 1958. The following day he commenced making five different linoleum blocks - bistre or grayish brown, yellow, red, blue and black - to be superimposed on each other in that order and in reverse of the original, the Cranach II print. He then proceeded to print different proofs, in the process making two different states of the color blocks and three of the black in order to arrive at the final image. This event touched off a decade of work in linocut (or linoleum block) printmaking, inspired by the South of France, where the artist had increasingly worked since the 1940s. Speaking to the artist's love affair with the region, he begins a series of linocuts depicting the bullfight. Nine proofs for the Pique II (1959) attest to this; the series completed by the finished print.

In this blend of cultural history and survey of printmaking, Watrous traces the roots and evolution of the art from American etching and wood-engraving of the late 19th century through Joseph Pennell's industrial-age prints, the urban genre of John Sloan, George Bellows, and Edward Hopper, the Federally-funded Depression-era graphic art projects, the post-World War II avante-garde trends to the innovations that flourished later in the century. His story is one of prints, people, and events, covering the printmakers, their artistic conceptions and works, curators, dealers, collectors, critics, printers, workshops and exhibitions, and the roles played by elites and the masses. Prints reproduced include those by James Whistler, Mary Cassatt, Max Weber, Jasper Johns, Robert Rauschenberg, and Roy Lichtenstein and Mauricio Lasansky. ISBN 0-299-09680-7 : $40.00 (For use only in the library).