#Rudy Pozzatti

[latinlizard]

Catullus 44

Rudy Pozzatti Cicero, 1963

O fvnde noster seu Sabine seu Tiburs O our farm, whether Sabine or TIburtine (nam te esse Tiburtem autumant, quibus non est (for they insist that you are Tiburtine, for whom it is not cordi Catullum laedere; at quibus cordi est, for the heart to hurt Catullus; but for whom it is in the heart quouis Sabinum pignore esse contendunt), contending that you are Sabine by any rate), sed seu Sabine siue uerius Tiburs, but whether you're Sabine or more truly Tiburtine, fui libenter in tua suburbana i was glad in your suburban uilla, malamque pectore expuli tussim, house, and expelled a bad cough out from my chest, non inmerenti quam mihi meus uenter, which i did not deserve to be given by my stomach, dum sumptuosas appeto, dedit, cenas. while I craved bouijee dinners. nam, Sestianus dum uolo esse conuiua, for, while I wish to be a guest of Sestius, orationem in Antium petitorem the speech in petition to Arrius plenam ueneni et pestilentiae legi. full of poision and plague I read. hic me grauedo frigida et frequens tussis here a grave sickness and frequent cough have quassauit usque, dum in tuum sinum fugi, shaken me consistently, while I flee into your chest, et me recuraui otioque et urtica. and I restored myself by means of leisure and nettles. quare refectus maximas tibi grates therefore i give the greatest thanks to you for my recovery ago, meum quod non es ulta peccatum. i do, you have no punished my error. nec deprecor iam, si nefaria scripta I now offer no prayer, if bad writings Sesti recepso, quin grauedinem et tussim of Sestius i will take up again, without fever or cold non mi, sed ipsi Sestio ferat frigus, not for me, but rather to Sestius himself been coughed up, qui tunc uocat me, cum malum librum legi. who then calls me, whenever I read this bad speech.

[moma-prints]

Duomo, Rudy Pozzatti, 1952, MoMA: Drawings and Prints

Purchase Size: plate: 15 1/2 x 18 3/4" (39.3 x 47.7cm); sheet: 18 3/8 x 21 15/16" (46.7 x 55.7cm) Medium: Engraving

http://www.moma.org/collection/works/68111

[rgf-focus]

Rudy Pozzatti, Trees in Autumn Light, 1959. Etching laid on board, signed and numbered 101/200 in pencil. Plate: 19.9 x 25.1 cm. Image via saturdaygalleryart.com. 

[briggsps]

Thirty-two portraits of U.S. Presidents ring the perimeter of Rudy Pozzatti’s print, Mr. President. These border images surround a select group of controversial and tragic presidents: Abraham Lincoln, John F. Kennedy, Richard M. Nixon, Warren G. Harding, and Lyndon B. Johnson.

At the upper center of the print, just above Nixon’s head and in large capital letters, WATERGATE references the 1972 political scandal that led ultimately to the resignation of the 37th President. Nixon, notorious for recording meetings in the Oval Office, occupies a space just above a reel to reel tape recorder, alluding to the mechanics of his political plummet. To the right of Nixon, somewhat diminished and in the shadows, is Gerald Ford who pardoned his disgraced predecessor and former boss.

While none of these presidential portraits are derived from official White House portraits, each is taken from a well known depiction. In the top row on the left side, Theodore Roosevelt, for example, is dressed in his Rough Riders’ uniform that he wore in 1898 during the Spanish-American War.

Through the center of the print is a strip of  various official governmental seals, and at the right a drawing of Lyndon Johnson, the 36th President of the United States. Johnson was responsible for the escalation of the Vietnam Conflict in 1963, shortly after taking office after his predecessor, John F. Kennedy, was assassinated in Dallas, Texas.

Kennedy, in the lower half of the print, abuts a portrait of Abraham Lincoln, who was also assassinated while in office. Below Kennedy’s chin, Pozzatti placed a Carcano Model 1891/38 Infantry rifle believed to have ended the president’s life. Above Lincoln’s portrait, a hand holds a pistol, apparently a Model 1911 rather than the Derringer that John Wilkes Booth likely used to assassinate Lincoln in Ford’s Theater in 1865. Several portraits of Lincoln repeat on the left side of the print, while to the right of Kennedy bullet holes punctuate illegible red text and official seals of office.

    Mr. President, 1976; Relief, zinc etching, lithograph; Image size: 913 x 611 mm

detail, Johnson

detail, Kennedy/Lincoln

detail, Presidential seal

detail, Carcano rifle

Print Closeup: Rudy Pozzatti’s “Mr President” Thirty-two portraits of U.S. Presidents ring the perimeter of Rudy Pozzatti's print, Mr. President. These border images surround a select group of controversial and tragic presidents: Abraham Lincoln, John F.

[jenniedavis]

Rudy Pozzatti 

[blairemclaren]

Rudy Pozzatti Obituary - Death : Rudy Pozzatti Has Died

Rudy Pozzatti Death - Obituary, Funeral, Cause Of Death Retired Indiana University professor and world-class printmaker Rudy Pozzatti died March 27 at age 96.....click link to learn more

Rudy Pozzatti Death – Obituary, Funeral, Cause Of Death Retired Indiana University professor and world-class printmaker Rudy Pozzatti died March 27 at age 96. Through a social media announcement, DeadDeath learned on April 29th, 2021, about the death of Rudy Pozzatti who has died. In the mourning spirit of this death, families, friends, and associates of the deceased share their sad news across…

[plusorminuscongress]

Picture This: Art Chosen by Artists: Library of Congress National Exhibition of Prints (1943-77) – a New Research Guide https://ift.tt/3bCOAMf by Barbara Orbach Natanson

The following is a guest post by Katherine Blood, Curator of Fine Prints, Prints & Photographs Division. As the Library of Congress marks its 220th year of serving the nation, the publication of a new guide tells two stories: how staff have for decades worked with art professionals to build the collections and how by creating descriptive materials such as guides, the Library strives to help viewers to research and appreciate the collections it has acquired.

Section of guide, National Exhibition of Prints (1943-1977) at the Library of Congress.

A newly-published online research guide, National Exhibition of Prints (1943-1977) at the Library of Congress, helps researchers delve into a fascinating aspect of the Library’s print collecting and exhibition history.

Beginning in the late 1930s, the Library’s Prints and Photographs Division (P&P, then called the Division of Fine Arts) regularly sought the advice of artists as part of its program for building a world class collection of modern and contemporary artists’ fine prints (e.g. engravings, etchings, woodcuts, lithographs, and screen prints). In 1943, even as the country faced the challenges of World War II, the Library supplemented this approach with an ambitious undertaking, staging a series of national, juried print shows at a time when such venues for American prints and printmakers were still relatively rare. Works by printmakers from Mexico, Cuba, Canada, and several other countries were featured alongside a wealth of prints by both known and emerging artists from across the United States. This National Exhibition of Prints continued annually until 1977.

Sixteenth National Exhibition of Prints at the Library of Congress, Washington, D.C. Photo by Library of Congress Photoduplication Services, 1958. https://ift.tt/3aACOR2

Artist/printmakers collaborated in the exhibitions, which also served as a means of identifying prints for the Library to acquire. Among those who served as advisors and jurors were John Taylor Arms, Fritz Eichenberg, Federico Castellón, Clare Leighton, Michael Mazur, Clare Romano, Benton Spruance, and many others.

Pennell Jury for Exhibit and Pennell Fund Committee. Photo by Library of Congress Photoduplication Service, 1966. Shows Jacob Landau, Adelyn Breeskin, Rudy Pozzatti, and Alan Fern surrounded by prints for the Twentieth National Exhibition of Prints at the Library of Congress. https://ift.tt/2yDBuQg

The Library’s National Exhibition of Prints program fostered public appreciation of artists’ prints, while serving as a rich and recurring source for new acquisitions selected by artists who served as Jurors of Admission and Jurors of Award. The latter, working together with P&P chiefs and curators, conferred Pennell purchase prize awards, named for Golden Age illustrator, artist, and printmaker Joseph Pennell (1857-1926). The prints selected for awards were typically acquired and added to the Library’s permanent collections. In addition to artists, participating admissions jurors occasionally included art and museum experts, among them such legendary print scholars as A. Hyatt Mayor, Adelyn Breeskin, and Una E. Johnson.

Lunch hour. Lithograph by Joseph Hirsch, 1942. https://ift.tt/3cKVwXT

Ljubljana night. Collagraph by Clare Romano, 1965. https://ift.tt/2KvJG7V

Our new guide details this history and shows researchers how to find exhibited prints that were subsequently acquired for the Library’s Fine Prints Collection. Since only a fraction (about 500 out of 4,600 total prints) were ultimately acquired, the guide provides further links to catalogs listing all of the featured artists and their prints, including those whose works are not currently included in the Library’s collection. The National Exhibition of Prints catalogs also note the names of jurors and their respective roles. On-site researchers can review microfilm reels showing images of both selected and rejected prints from the exhibitions.

As research interest in the history, creation, dissemination, and impact of visual art grows, the National Exhibition of Prints research guide offers a slice of printmaking history in our nation’s capital that, through the Library’s collection and researcher engagement, continues to resonate throughout the country and beyond.

Pennell Jury for Exhibit and Pennell Fund Committee. Photo by Library of Congress Photoduplication Service, 1966. Shows Rudy Pozzatti, Fritz Eichenberg, and Edgar Breitenbach viewing prints for the Twentieth National Exhibition of Prints. https://ift.tt/354nlrj. Do you recognize any of the prints they are considering?

Learn More

Take a look at the National Exhibition of Prints (1943-1977) at the Library of Congress guide, and view a sampling of prints acquired through the National Exhibitions (because of rights considerations, the prints display only at thumbnail size when you are viewing from outside Library of Congress buildings).

Read a series of special articles describing Collections of Works on Paper at the Library of Congress (pdf) from a Washington Print Club Quarterly (now called On Paper) dedicated journal issue (Winter 2011-2012).

Explore online catalog records describing portions of the Fine Prints Collection (including prints featured in the National Exhibition of Prints) in the Prints & Photographs Division Online Catalog, especially those describing prints purchased with the Pennell Fund.

Get to know Joseph Pennell and particular facets of his career in a video webinar focusing on Pennell’s well-known World War I drawing and related poster “Lest Liberty Perish…Buy Bonds.

For information about offerings related to the Library’s 220th birthday, see the Library of Congress Blog’s post, “Your Favorite Library Turns 220!“

[thingsfoxeseat]

Rudy Pozzatti

Fox

Lithograph, 1964

[artistsanimals]

Title: Cretan Bull Artist: Rudy Pozzatti Medium: lithography Size: 26 3/4" x 34 1/2" Date: 2009 Source: Normal Editions Workshop

[aroundfortwayne]

FWMoA announces major gift to permanent collection

Read More

[wallandpeace]

grasshopper

[moma-prints]

Serenade, Rudy Pozzatti, 1950, MoMA: Drawings and Prints

Purchase Size: plate: 23 1/16 x 14 3/4" (58.5 x 37.4cm); sheet: 23 1/16 x 14 3/4" (58.5 x 37.4cm) Medium: Engraving

http://www.moma.org/collection/works/61769

[rgf-focus]

Rudy Pozzatti, Classic Ruins II, 1963. Printed by Joe Zirker, published by Tamarind Lithography Workshop. Lithograph on ivory wove paper, 495 x 535 mm (image); 530 x 560 mm (sheet). Collection of Art Institute Chicago, gift of Burt Kleiner. Image via artic.edu. 

[clintonmckay]

Rudy Pozzatti’s Devil from his photo litho demo at UofL today, the edition printed without a hitch and I think I might love lithography again now. Also, I'm very excited to own one of these bad boys, I'll put it on my famous printmaker wall with my Tom Huck

[jenniedavis]

Rudy Pozzatti 

[appropriatorium]

Baptistry by Rudy Pozzatti 1964 Etching 

This print is included in a show of Pozzatti's prints hanging in the galleries at the Hite Art Institute at the University of Louisville. The prints are breathtaking, UofL is lucky to have about 500 of them