#women printmakers

[liquindaze]

Monotypes by Helen Frankethaler

[sacramentohistorymuseum]

August 26 is Women’s Equality Day, a day observed on the anniversary of when the 19th Amendment was certified to the United States Constitution. The 19th Amendment gave women the right to vote but those voting rights were still limited in many states and for People of Color. Voting rights were not fully extended to all groups until 1965 under the Voting Rights Act.

The fight for the 19th Amendment did not happen overnight as the suffrage movement that culminated in the certification of the 19th Amendment, on this day in 1920, began almost 100 years prior. Nevertheless, on this very historic day, we must reflect on the power that the right to vote has, especially with an election just over two months away.

For today, Alex letterpress printed one of the slogans used by suffragettes when advocating for the right to vote. This was typeset in 72 point Caslon font. The phrase states, “Votes For Women." This was printed with black rubber base ink using our Washington hand press.

[carvingclown]

BOTY BOTY BOTY BOTY BOTY

I mean it, this is my favorite book of the year. And maybe one of my favorites ever. It's one thing to be fresh, another thing to be weird, and something else entirely to be exceptional; The West Passage is all three. Come for the giant monster women, stay for the honey.

[mousefists]

hello i forgot i had tumblr.

here's some poppies.

[newyorkthegoldenage]

Mabel Dwight, Greetings from the House of Weyhe, 1928. Lithograph.

The Weyhe Gallery on Lexington Avenue was a nexus of printmaking in the 1920s and 30s. Director Carl Zigrosser championed the work of many artists, including Mabel Dwight and Howard Cook. Every year, the Weyhe Gallery commissioned one of the artists it represented to produce a greeting card for the holidays. This was Mabel Dwight’s card design for 1928. She depicted Zigrosser wearing a bow tie and leaning against the bookcase.

Dwight was a printmaker who specialized in portraying scenes of everyday life in Manhattan. Zigrosser said of her, " "Her work is imbued with pity and compassion, a sense of irony, and the understanding that comes of deep experience." Between the late 1920s and the early 1940s, she achieved both popularity and critical success. In 1936, Prints magazine named her one of the best living printmakers and a critic at the time said she was one of the foremost lithographers in the United States.

Photo: Museum of Modern Art

[marianacheniaux]

Hey guys! If you like my art and want to support my work, consider buying one of my prints :)

If you cannot, please share so I can find a new home to my posters✨

https://marianacheniaux.bigcartel.com/products

[internationalemeteorologie]

Eileen Mayo

Girl with cat. 1940-50

[bird-song-studio]

Some of my first linocuts I carved when I first started experimenting with the medium. I’ve learned so much since I made these, and I love the medium so much more.

[the-cricket-chirps]

Elizabeth Norton

Chi-Ku

1931

[womenshistory]

Sultana’s Dream by Chitra Ganesh, 2018.

These works were inspired by Rokeya Sakhawat Hossain's feminist utopian story of the same title.

[muspeccoll]

Friday, Saturday, and Sunday saw multiple graduation ceremonies here at Mizzou. In honor of our graduates, these are a few scenes of campus from Vistas: University of Missouri, thirty linoleum cuts printed and bound by art professor Gladys Wheat (1889-1976). Wheat was one of the first women faculty members of the art department and became a well-known figure in the arts in Columbia. Read more about her life in Intertwined: The Artistic Landscape of Historic Columbia, an exhibition from the Boone County Historical Society.

Many of Wheat's vistas of campus have changed little in the near-century since they were printed. The selected images shown here depict Jesse Hall and the Columns on Francis Quadrangle, the bridge in Peace Park (then known as McAlester Park), the Japanese Lantern given to the Journalism School by the government of Japan, and, of course, our own Ellis Library. We particularly like her description of the library:

This intriguing storehouse of knowledge has open doors to plain truths, to adorned romance, and to glorious adventure.

Wheat, Gladys M. Vistas, University of Missouri. Printed and bound by the author, 1929. RARE-L LD3473 .W4 1929

[abwwia]

SYLVIA GOSSE

THE CHATEAU-SAUCHAY LE HAUT, 1922

Oil on canvas

20 x 24 inches

Laura Sylvia Gosse (14 February 1881 – 6 June 1968) was an English painter and printmaker. She also ran an art school with the painter Walter Sickert. Via Wikipedia

[sacramentohistorymuseum]

While people throughout California made their way to the Sacramento Valley during the early days of the Gold Rush, across the continent on July 19. 1848, a group of 300 people met in Seneca Falls, New York to hold a convention. This convention was to discuss the “social, civil, and religious condition and rights of women."

This was the first formal women’s rights convention to be held in the United States. Elizabeth Cady Stanton helped author the Declaration of Sentiments, which was modeled upon the Declaration of Independence. Frederick Douglass attended the convention and published his support for the convention in his newspaper, the North Star. His printing office would later publish the first copies of the Declaration of Sentiments.

The fight for women’s suffrage and equality was a long and arduous campaign that is still fought for today. It is important to remember when that fight began just 176 years ago today.

For today, Jared discussed the convention while letterpress printing “Declaration of Sentiments” in 48 point Stymie font. This was printed using purple oil base ink. The original Declaration of Sentiments was printed on an iron hand press similar to our Washington hand press in our print shop exhibit.

[image-junkie]

THE ARTIST & HER WORK: ELIZABETH CATLETT

Elizabeth Catlett (1915-2012) lived a storied life. From a young age, she knew she wanted to be an artist, and pursued her dreams by receiving a BA in Art from Howard University in 1935.

She married Charles White (another legacy artist), and together they moved to NYC, where their circle of friends included the likes of Loïs Mailou Jones, Charles Alston, Aaron Douglas, Jacob Lawrence, and Langston Hughes. 

In 1946, the pair moved to Mexico, where Catlett was a guest artist at the printmaking collective Taller de Gráfica Popular (TGP). This was a formative time in her practice, as her work became increasingly sociopolitical. She began spending time with Diego Rivera, Frida Kahlo, and David Siqueiros and was committed to representing strength and struggle in her work. During the Red Scare of the 1950s, her activism and work with TGP came under investigation by the House Un-American Activities Committee (HUAC) and the U.S. embassy in Mexico. She was declared an "Undesirable Alien" and was prevented from returning to the States. By 2002, her citizenship was reinstated, and she became a celebrated artist around the world. Images:

Charles White. Elizabeth Catlett in her studio. c. 1942. Black-and-white photograph, 3 5/8 × 3 9/16" (9.2 × 9 cm). Private collection. © The Charles White Archives

Elizabeth Catlett (1915–2012), Head of a Negro Woman, 1946 Gift of Robert L. Johnson, © 2020 Catlett Mora Family Trust/Licensed by VAGA at Artists Rights Society (ARS), NY.

Elizabeth Catlett, Head. Carved limestone, 1943. Approximately 13 1/2x9 1/2x7 1/4 inches. (sold for $ 485,000 in 2021)

Elizabeth Catlett, "Which Way?," 1973–2003, lithograph, 11 x 14 ½ in. (27.5 x 37 cm), edition 4 of 25. Courtesy of the Elizabeth Catlett Family Trust.

Image of Elizabeth Catlett at work in her studio, circa 1983

[mousefists]

✨sprouted garlic✨

[etches-and-inks]

Look at her! So pleased with how she came out ❤️

“Leaping” from my “-Ing” collection