Platemark: prints and the printmaking ecosystem

In Platemark s3e23, host Ann Shafer speaks with Kimberly Henrikson, Executive Director, Center for Contemporary Printmaking in Norwalk, CT. CCP offers myriad services from contract printing, to artist's residencies, classes, workshops, and exhibitions. It really does it all. As CCP's executive director and administrator, Kimberly not only makes sure the lights are on, but also runs the budgets, raises funds, organizes programming, and curates exhibitions. Managing human resources and staffing, finance, marketing, programming, fundraising, as well as curatorial is no small feat. With a staff of four full time and three part time people, it's all hands on deck all the time. Small but mighty, CCP is a printmaking nexus in Connecticut. Find out how she does it all while also acting as the president of the Print Club of New York. Kimberly Henrikson. Center for Contemporary Printmaking, Norwalk, CT. Main building with artist's residency cottage behind. Center for Contemporary Printmaking, Norwalk, CT. Photo: Norman Stewart. Artist's residency studio. Center for Contemporary Printmaking, Norwalk, CT. Monothon event at Center for Contemporary Printmaking, Norwalk, CT. Claes Oldenburg (American, born Sweden, 1929–2022). Lipstick (Ascending) on Caterpillar Tracks, 1969 (reworked in 1974). Painted steel, aluminum, and fiberglass. 670.6 × 594.4 × 332.7 cm. (264 × 234 × 131 in.). Yale University Art Gallery, New Haven. Didier William (American, born 1983). Vol, 2022. Letterpress printed relief from wood carving and polymer plate. 12 ½ x 19 in. Published by Print Club of New York. Rowayton Elementary School visits Center for Contemporary Printmaking, Norwalk, CT. Linda Herritt: Patterned Prose. December 11, 2022-February 19, 2023. Center for Contemporary Printmaking, Norwalk, CT. Linda Herritt (American, born 1950). Auspicious Omen, 2022. Monotype and screenprint. Courtesy the artist and Center for Contemporary Printmaking. Shop Swap: Center for Contemporary Printmaking Exchange with East London Printmakers. Center for Contemporary Printmaking, Norwalk, CT. June 5–August 28, 2022. Installation shot of Text Messages curated by Kimberly Henrikson. Center for Contemporary Printmaking, Norwalk, CT. September 11–October 30, 2022. Installation shot of Text Messages curated by Kimberly Henrikson. Center for Contemporary Printmaking, Norwalk, CT. September 11–October 30, 2022. Zine/brochure for the exhibition Text Messages curated by Kimberly Henrikson. Center for Contemporary Printmaking, Norwalk, CT. September 11–October 30, 2022. Judy Pfaff (American, born England, 1946). Yukata A, 2016. Woodcut printed in green. 15 x 60 in. Published by Print Club of New York. Printed by Jason Ruhl at Tandem Press. Judy Pfaff (American, born England, 1946). Yukata B, 2016. Woodcut printed in blue. 15 x 60 in. Published by Print Club of New York. Printed by Jason Ruhl at Tandem Press. Faith Ringgold (American, born 1930). Here Comes Moses, 2014. Screenprint. 22 ½ x 30 in. (57.2 x 76.2 cm.). Published by Print Club of New York. Printed by Curlee Raven Holton, Experimental Printmaking Institute at Lafayette College. USEFUL LINKS https://contemprints.org/ https://printclubofnewyork.org/about-print-club-of-new-york/

In s2e26, hosts Ann Shafer and Tru Ludwig conclude their conversation about Jacques Callot, where there is always more than meets the eye. He's of interest for many reasons, including his practice of making faster-to-create etchings look like more-time-consuming engravings using his éschoppe. He is the first printmaker in Western art to record the atrocities of war. He heads up any list of artists in the history of prints using them to spread news far and wide about societal ills through visual means. He created some 1,400 prints in his career (no paintings!) and made some of the most remarkable and smallest prints ever. This is the second half of the conversation. If you skipped Platemark s2e25, you might go back and listen to it before starting this one. Episode image: Jacques Callot (French, 1592–1635). Frontispiece from the series The Beggars, c. 1623. Etching. Sheet (trimmed near platemark): 5 7/16 x 3 7/16 in. (13.8 x 8.8 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Balli di Sfessania, c. 1622. Series of 24 etchings. Sheet (each, trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Dorotheum. Jacques Callot (French, 1592–1635). Cap. Cerimonia – Sig. Lauvinia from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Cap. Cardoni – Maramao from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Smaraolo cornuto – Rarsa di Boio from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Taglia Cantoni – Fracasso from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Sig. Lucia – Trastullo from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Razullo – Cucurucu from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Frontispiece from Balli di Sfessania, c. 1622. Etching. Sheet (trimmed near platemark): 2 15/16 × 3 3/4 in. (7.5 × 9.6 cm.). Metropolitan Museum of Art, New York. Francisco Goya (Spanish, 1746–1828). Plate 58 from Los Caprichos : Swallow it, dog (Tragala perro), 1799. Etching, aquatint, and drypoint. Plate: 8 7/16 × 5 15/16 in. (21.5 × 15.1 cm); sheet: 11 5/8 x 8 1/4 in. (29.5 x 20.9 cm.). Metropolitan Museum of Art, New York. Diego Velázquez (Spanish, 1599–1660). Las Meninas, 1656. Oil on canvas. 10' 5" x 9' 5" in. Museo del Prado, Madrid. Jacques Callot (French, 1592–1635). Frontispiece from the series The Beggars, c. 1623. Etching. Sheet (trimmed near platemark): 5 7/16 x 3 7/16 in. (13.8 x 8.8 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). The Beggar with Crutches and Pouch from the series The Beggars, c. 1623. Etching. Sheet: 5 9/16 x 3 9/16 in. (14.2 x 9 cm.); plate: 5 7/16 x 3 7/16 in. (13.8 x 8.7 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). The Old Woman with Cats from the series The Beggars, c. 1623. Etching. Sheet (trimmed near platemark): 5 7/16 x 3 7/16 in. (13.8 x 8.8 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). The Sickly Man from the series The Beggars, c. 1623. Etching. Sheet (trimmed near platemark): 5 7/16 x 3 1/2 in. (13.8 x 8.9 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). The Beggar with Rosary from the series The Beggars, c. 1623. Etching. Sheet: 5 9/16 x 3 9/16 in. (14.2 x 9 cm.); plate: 5 7/16 x 3 7/16 in. (13.8 x 8.8 cm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Beggars Receiving Alms at the Door of a House, 1648. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 6 5/8 × 4 1/2 in. (16.8 × 11.5 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Frontispiece from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/2 x 8 9/16 in. (11.5 x 21.7 cm.); plate: 3 9/16 x 7 1/2 in. (9 x 19.1 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Plate two: The Enlistment of Troops from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 3/16 x 8 3/8 in. (10.6 x 21.2 cm.); plate: 3 1/4 x 7 3/8 in. (8.2 x 18.7 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Plate three: The Battle from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 3

In Platemark s3e22, host Ann Shafer talks with Laura Einstein, manager of the Gallery at the Met Store. Tucked away on the mezzanine of the bookstore at the Metropolitan Museum of Art is a gallery space where limited edition, fine art prints are available for purchase. The Gallery (formerly known as the Mezzanine Gallery) has been a somewhat hidden gem at the Met since opening in the 1970s. Really affordable, wonderful prints are selected by Laura who always has time to talk shop with artist, buyers, students, and scholars. Make it a must-see on your next visit to the Met. Best to make an appointment to be sure Laura is available.

In s2e25, hosts Ann Shafer and Tru Ludwig take an in-depth look at Jacques Callot, who is the first printmaker in Western art to record the atrocities of war. He heads up any list of artists using prints to spread news far and wide about societal ills through visual means. He created some 1,400 prints in his career (no paintings !) and made some of the most remarkable and smallest prints ever. This is a first half of a longer conversation. Stay tuned for part two. Episode image: [DETAIL] Jacques Callot (French, 1592–1635). The Fan, 1619. Etching and engraving. Sheet (trimmed near platemark): 44.3 x 33.9 cm. (17 3/8 x 13 3/8 in.). National Gallery of Art, Washington, D.C. Peter Paul Rubens' portraits of Marie de' Medici (1622–24) in the Richelieu wing of the Louvre. By Ivo Jansch - Flickr, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=7920324 Francisco Goya (Spanish, 1746–1828). Saturn Devouring His Son, c. 1819–23. Mixed media mural transferred to canvas. 143.5 x 81.4 cm. (56 ½ x 32 in.). Museum del Prado, Madrid. Anthony van Dyck (1599–1641). Jacobus Callot, c. late 1600s–early 1700s. Engraving. Sheet (trimmed within platemark): 23.5 x 16.2 cm (9 ¼ x 6 3/8 in.). Masterworks Fine Art, Palo Alto, CA. Christoffel Jegher (Flemish, 1596–1652/53) after Peter Paul Rubens (Flemish, 1577–1640). Hercules Triumphant over Discord, 1633–34. Woodcut. Sheet: 23 3/4 x 14 7/16 in. (60.33 x 36.67 cm.). Minneapolis Institute of Art, Minneapolis. Niccolò della Casa (French, active Italy, c. 1543–48). Portrait of Cosimo de' Medici in full armor, 1544. Engraving. Sheet: 17 1/8 in. × 12 in. (435 × 305 mm.); plate: 16 13/16 × 11 9/16 in. (427 × 294 mm.). Metropolitan Museum of Art, New York. Laocoön and His Sons, c. 200 BCE–70 CE. Marble. 208 × 163 × 112 cm. (6' 10 » × 5' 4 » × 3' 8 »). Vatican Museums, Vatican City. Peter Paul Rubens (Flemish, 1577–1640). The Garden of Love, 1630–35. Oil on canvas. 199 x 286 cm. Museo del Prado, Madrid. Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence. Sir Anthony van Dyck (Flemish, 1599–1641). Lucas Vorsterman, from the series Iconography, 1628–32. Etching and engraving. Sheet (trimmed to platemark): 9 5/8 × 6 3/16 in. (24.4 × 15.7 cm). Museum of Fine Arts, Houston. Compare engraving and etching Eschoppe tool with ovoid tip. Photo: London Fine Art Studio. Jacques Callot (French, 1592–1635). The Fan, 1619. Etching and engraving. Sheet (trimmed near platemark): 44.3 x 33.9 cm. (17 3/8 x 13 3/8 in.). National Gallery of Art, Washington, D.C. [DETAIL] Jacques Callot (French, 1592–1635). The Fan, 1619. Etching and engraving. Sheet (trimmed near platemark): 44.3 x 33.9 cm. (17 3/8 x 13 3/8 in.). National Gallery of Art, Washington, D.C. [DETAIL] Jacques Callot (French, 1592–1635). The Fan, 1619. Etching and engraving. Sheet (trimmed near platemark): 44.3 x 33.9 cm. (17 3/8 x 13 3/8 in.). National Gallery of Art, Washington, D.C. [DETAIL] Jacques Callot (French, 1592–1635). The Fan, 1619. Etching and engraving. Sheet (trimmed near platemark): 44.3 x 33.9 cm. (17 3/8 x 13 3/8 in.). National Gallery of Art, Washington, D.C. ZOOM IN https://www.nga.gov/collection/art-object-page.51537.html [DETAIL] Rembrandt (Dutch, 1606–1669). Presentation in the Temple, c. 1640. Etching and drypoint. Sheet: 218 × 296 mm. (8 9/16 × 11 5/8 in.); plate: 213 × 290 mm. (8 3/8 × 11 7/16 in.). Baltimore Museum of Art, Baltimore. Jacques Callot (French, 1592–1635). Noble Coats of Arms, c. 1612–35. Etching. Sheet: 302 x 227 mm. (11 9/10 x 8 9/10 in. Artsy. Jacques Callot (French, 1592–1635). The Fair at Impruneta, after 1619. Etching. Sheet (trimmed near platemark): 418 x 670 mm. Bibliothèque Nationale, Paris. [DETAIL] Jacques Callot (French, 1592–1635). The Fair at Impruneta, after 1619. Etching. Sheet (trimmed near platemark): 418 x 670 mm. Bibliothèque Nationale, Paris. [DETAIL] Jacques Callot (French, 1592–1635). The Fair at Impruneta, after 1619. Etching. Sheet (trimmed near platemark): 418 x 670 mm. Bibliothèque Nationale, Paris. [DETAIL] Jacques Callot (French, 1592–1635). The Fair at Impruneta, after 1619. Etching. Sheet (trimmed near platemark): 418 x 670 mm. Bibliothèque Nationale, Paris. [DETAIL] Jacques Callot (French, 1592–1635). The Fair at Impruneta, after 1619. Etching. Sheet (trimmed near platemark): 418 x 670 mm. Bibliothèque Nationale, Paris. Rembrandt (Dutch, 1606–1669). The Three Trees, 1643. Etching, engraving, and drypoint. Plate: 8 3/8 x 10 15/16 in. (21.3 x 27.8 cm.); sheet: 8 3/8 x 11 1/8 in. (21.3 x 28.3 cm.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Varie figure gobbi, c. 1621–25. Series of 21 etchings. Plate (each): 2 3/8 x 3 3/8 in. (6 x 8.5 cm.). Stanza del Borgo. Jacques Callot (French, 1592–1635). Title page from Varie figure gobbi, c. 1621–25. Etching. Plate: 2 3/8 x 3 3/8 in. (6 x 8.5 cm.); sheet: 3 1/16 x 4 1/8 in. (7.7 x 10.4 cm.).

In Platemark s3e21, host Ann Shafer talks with Pam Paulson, founder of Paulson Fontaine Press, Berkeley, California. After earning her MFA in painting from the San Francisco Art Institute in 1982 (she was a teaching assistant for Robert Colescott), Pam cut her teeth in printmaking at Crown Point Press in downtown San Francisco. There she worked with luminaries such as John Cage and Richard Diebenkorn. In 1996, she started publishing prints as Paulson Press. She and Renée Bott joined forces as Paulson Bott Press, and following Renée's retirement in 2016, Pam is joined by Rhea Fontaine precipitating the change in name to Paulson Fontaine Press. The Press works with a fabulous array of artists and specializes in intaglio printmaking. Our conversation focuses on some of the intriguing projects Pam has worked on over the years, leading off with projects at Crown Point with artist John Cage during which the press was set on fire (on purpose). Episode image: Alex Wein Pam Paulson and Rhea Fontaine at Paulson Fontaine Press. John Cage. Dramatic Fire, 1989. Aquatint on smoked paper. Sheet: 18 ¼ x 23 inches. Published by Crown Point Press and printed by Pam Paulson. Richard Diebenkorn. High Green Version I, 1992. Color spit bite and soap ground aquatint with hardground etching and drypoint. Plate: 39 ¾ x 22 ¾ in.; sheet: 52 ¾ x 33 ¾ in. Crown Point Press, San Francisco. Caio Fonseca. Three String Etching Giallo, 2006. Color aquatint, spit bite aquatint, soap ground, sugar lift, and softground etching. Sheet: 39 x 50 in. Paulson Fontaine Press. Berkeley. Gary Simmons. Double Swing Hallway, 2012. Color aquatint etching. Sheet (each of 6 panels): 19 ½ x 25 in. Paulson Fontaine Press. Berkeley. Gary Simmons working on Double Swing Hallway, 2012, at Paulson Fontaine Press. Caroline Kent. The Charlatan's Sleight of Hand; Forest and Shadow; We Hold Them Inside Us; A Poem About the Cosmos, 2022. Set of four color aquatints with sugar lift, spit bite, and softground etching. Sheet (each): 50 ½ x 36 in. Paulson Fontaine Press. Berkeley. Judy Pfaff. Six of One–Las Margaritas, 1987. Color Woodcut. Sheet: 41 x 69 in. Crown Point Press, San Francisco. Squeak Carnwath. Medicine, 2011. Color aquatint etching. 37 x 36 in. Paulson Fontaine Press, Berkeley. Louisiana Bendolph. As I Leave Shall I Return, 2013. Color aquatint and softground etching. Plate: 34 x 26 1/5 in. Paulson Fontaine Press, Berkeley. Woody De Othello. Steppin Through the Night, 2021. Color softground and aquatint etching. Sheet: 43 ½ x 37 in. Paulson Fontaine Press, Berkeley. Chris Johanson. Abstract Art with Cosmic Narrative, 2014. Color sugar list, soap ground, spit bite aquatint with hardground etching and drypoint. Sheet: 40 x 44 in. Paulson Fontaine Press, Berkeley. Martin Puryear. Untitled (State II), 2014. Color softground etching with drypoint and chine collé. Sheet: 35 x 28 in. Paulson Fontaine Press, Berkeley. Tauba Auerbach. Plate Distortion II, 2011. Color aquatint etching. Sheet: 44 x 33 ½ in. Paulson Fontaine Press, Berkeley. Sam Levi Jones. Water and Air, 2018. Color flatbite and aquatint etching. 65 ½ x 65 ½ in. Paulson Fontaine Press, Berkeley. Charles Gaines. Numbers and Trees, Tiergarten Series 3: Tree #6, 2018. Color aquatint and spit bite aquatint etching with printed acrylic box. 41 ¼ x 32 x 3 in. Paulson Fontaine Press, Berkeley. Charles Gaines. Numbers and Trees: Palm Canyon, Palm Trees Series 4, Tree #1–#4, 2021. Set of four color aquatint and spit bite aquatint etchings and chine collé with printed acrylic boxes. Each: 62 x 35 x 3 ½ in. Paulson Fontaine Press, Berkeley. Alicia McCarthy. ZAPCRLM, 2021. Color aquatint. Plate: 51 x 51 in.; sheet: 57 ½ x 57 in. Paulson Fontaine Press, Berkeley. Alicia McCarthy and printer Z Groshong working at Paulson Fontaine Press. Chris Brown. Arrival, 2010. Color spit bite aquatint, aquatint, and softground etching. Sheet: 33 x 45 in. Paulson Fontaine Press, Berkeley. Kerry James Marshall. Untitled (Handsome Young Man), 2010. Hardground etching with aquatint. Plate: 16 x 12 in.; sheet: 24 ½ x 19 in. Paulson Fontaine Press, Berkeley. Tauba Auerbach. Plate Distortion III, 2011. Color aquatint etching. Sheet: 44 x 33 ½ in. Paulson Fontaine Press, Berkeley. Tauba Auerbach working at Paulson Fontaine Press. https://paulsonfontainepress.com/

In Platemark s3e20, host Ann Shafer talks with Kimberli Gant, curator of Modern and Contemporary Art at the Brooklyn Museum. While Kimberli's specialty isn't in prints per se, she is one of those unusual non-print curators who likes and appreciates prints and incorporates them into her projects. Among many projects, her work on Jacob Lawrence and his time in Nigeria led to the exhibition, Black Orpheus: Jacob Lawrence and the Mbari Club, which traveled to the Chrysler Museum, the New Orleans Museum of Art, and the Toledo Museum of Art, and unlocks an area of Lawrence's oeuvre that has been overlooked. If you missed the exhibition, Kimberli's beautiful catalogue is worth acquiring. Episode image: Andar Sawyers Judy Chicago (American, born 1939). The Dinner Party, 1979. Mixed media. Brooklyn Museum, New York. Faith Ringgold (American, born 1930). Woman on a Bridge #1 of 5: Tar Beach, 1988. Acrylic paint, canvas, printed fabric, ink, and thread. 74 5/8 x 68 ½ in. Solomon R. Guggenheim Museum, New York. Sandro Botticelli (Italian, c. 1445–1510). The Birth of Venus, 1485–86. Tempera. Galleria degli Uffizi, Florence. Jan van Eyck (Netherlandish, 1390–1441). Arnolfini Portrait, 1434. Oil on wood. 32 x 24 in. National Gallery, London. Jacob Lawrence (American, 1917–2000). The Migration Series, Panel No. 23: The Migration Spread, 1940–41. Casein tempera on hardboard. 12 x 18 in. (30.5 x 45.7 cm. Phillips Collection, Washington, D.C. Black Orpheus No. 7, literary magazine, June 1960. British Library, London. https://chrysler.org/exhibition/jacob-lawrence/

Platemark s2e24 concludes hosts Ann Shafer and Tru Ludwig's conversation on reproductive prints. The stars of this episode are Hendrick Goltzius and Peter Paul Rubens. It's about the business of prints, artists getting their designs out there, and how these very transportable pieces of paper travelled throughout Europe and became catalogues of images for artists. Paper museums, if you will. Once again, for clarity, a reproductive print is one in which an artist creates a design (a drawing, painting, sculpture) and another artist creates a print after that original design. These can be sanctioned by the first artist or not or they can occur long after the first artist's death. It is customary to acknowledge all the artists in the strip of lettering at the bottom of the print (called the address). This way credit is given where due. Over time, reproductive prints became quite formulaic and staid—wait until we get to the early-nineteenth century. When photography was developed in the 1830s, it wasn't long before there was little need for the reproductive print. But without them, there is virtually no history of prints in the West. Episode image: Christoffel Jegher (Flemish, 1596–1652/53) after Peter Paul Rubens (Flemish, 1577–1640). Hercules Triumphant over Discord, 1633–34. Woodcut. Sheet: 23 3/4 x 14 7/16 in. (60.33 x 36.67 cm.). Minneapolis Institute of Art, Minneapolis. Hans Sebald Beham (German, 1500–1550). The Large Village Fair, 1535. Woodcut from four blocks. Sheet: 36.7 × 114.9 cm. (14 1/2 × 45 1/4 in.). Metropolitan Museum of Art, New York. Johann Theodor de Bry (Netherlandish, 1561–1623) after Hans Sebald Beham (German, 1500–1550). Little Village Fair, 1588–1623. Engraving. Sheet: 109 x 281 mm. Rijksmuseum, Amsterdam. Jasper Isaac (French, active 1585–1654) after Hans Sebald Beham (German, 1500–1550). The Village Fair, 1620–1640. Engraving. Sheet: 154 x 403 mm. British Museum, London. Albrecht Dürer (German, 1471–1528). Agony in the Garden, 1515. Etching. Sheet: 9 3/16 × 6 9/16 in. (234 × 166 mm.). Metropolitan Museum of Art, New York. Parmigianino (Italian, 1503–1540). Entombment, c. 1527–30. Etching. Sheet: 13 1/16 x 9 7/16 in. (332 x 240 mm.). Metropolitan Museum of Art, New York. Federico Barocci (Italian, 1528–1612). The Stigmatization of Saint Francis, c. 1575. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 228 x 145 mm. Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco. Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York. Pieter van der Heyden (Netherlandish, c. 1525–1569), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Big Fish East Little Fish, 1557. Engraving. Sheet (trimmed to platemark): 9 x 11 5/8 in. (22.9 x 29.6 cm.). Metropolitan Museum of Art, New York. Martin Schongauer (German, c. 1435/50–1491). Saint Anthony Tormented by Demons, c. 1470–75. Engraving. Sheet: 30 x 21.8 cm (11 13/16 x 8 9/16 in). Metropolitan Museum of Art, New York. Hieronymus Bosch (Netherlandish, 1450–1516). The Garden of Earthly Delights, 1490–1500. Oil on wood (triptych). Overall: 328.2 x 185.8 cm. Museo del Prado, Madrid. Philips Galle (Netherlandish, 1537–1612), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Justice, from the series The Seven Virtues, 1559–60. Engraving. Sheet: 10 1/4 x 13 3/16 in. (26 x 33.5 cm); plate: 8 7/8 x 11 7/16 in. (22.5 x 29 cm). Metropolitan Museum of Art, New York. Pieter van der Heyden (Netherlandish, c. 1525–1569), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Lust, from the series The Seven Deadly Sins, 1558. Engraving. Sheet (trimmed to platemark): 8 7/8 x 11 11/16 in. (22.6 x 29.7 cm.). National Gallery of Art, Washington, D.C. Titian (Venetian, 1488/1490–1576). The Submersion of Pharaoh's Army in the Red Sea, 1514–15, printed 1549. Twelve woodcuts joined. 40 x 55 cm (15 3/4 x 21 5/8 in.). Cleveland Museum of Art, Cleveland. Cornelis Cort (Netherlandish, c. 1533–1578), after Titian (Italian, c. 1485/90–1576). Martyrdom of St. Lawrence, 1571. Engraving. Sheet: 19 13/16 x 13 3/4 in. (50.3 x 34.9 cm.). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617), after Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Ixion, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 5/8 x 13 7/16 in. (34.6 x 34.1 cm). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617), after Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617), after Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Phaeton, from the series The Four Disgracers, 1588. Engraving. Sheet: 335 x 335 mm (13 3/16 x 13 3/16 in.). Metropolitan

In s3e19, host Ann Shafer talks with Maryanne Ellison Simmons, printer and owner of Wildwood Press in St. Louis, MO. She and her husband, baseball hall-of-famer Ted Simmons, also collect contemporary art. A large portion of the collection is now at the Saint Louis Art Museum where it was celebrated in an exhibition in 2022. Listeners may remember that Ann and Tru Ludwig traveled to St. Louis to see this exhibition and interview curator Elizabeth Wyckoff (s3e7), artist Tom Huck (s3e4 and s3e13), and Ted and Maryanne. Sadly, the audio file from the conversation with the Simmonses was corrupt, so Ann circled back and interviewed Maryanne without Ted (sorry, Ted). But it gave them an opportunity to talk about not only the collection and the exhibition, but also Wildwood Press. Episode image: Brian Cummings. Artist Juan Sanchez working on plates for Rosa at Wildwood Press, St. Louis. Juan Sanchez (American, born 1954). Saint Martin, 2022. Collagraph, batik fabric, collage, digital print, wood, and cowrie shells with hand coloring. Sheet: 48 x 48 in. Wildwood Press, St. Louis. Artist Juan Sanchez working on plates for Madre Salva at Wildwood Press, St. Louis. Michael Berkhemer (Dutch, born 1948). Printed and published by Wildwood Press, St. Louis. Four prints from the series St. Louis, 2011. Collagraph and relief. Each: 85 x 60 inches. Artist Michael Berkhemer working at Wildwood Press, St. Louis, 2007. Artist Michael Berkhemer working at Wildwood Press, St. Louis, 2011. | Valerie Hammond (American, born 1952). Printed and published by Wildwood Press, St. Louis. Séance, 2011. Photolithograph and relief on handmade paper. 72 x 48 inches. Yizhak Elyashiv (American, born Israel, born 1964). Printed and published by Wildwood Press, St. Louis. Untitled (Orange Series #7), 2001. Collagraph. 66 x 58 ½ inches. Artist Yizhak Elyashiv working at Wildwood Press, St. Louis. https://lefortrestorations.com/contact.htm Annette Lemieux (American, born 1957). Printed and published by the Washington University School of Art Collaborative Print Workshop, St. Louis. Left Right Left Right, 1995. 30 photolithographs mounted to board. 108 x 184 x 18 inches. Mildred Lane Kemper Art Museum, Washington University, St. Louis. Kiki Smith (American, born 1954). Published by Artes Magnus. Finger Bowl, 1995. Sterling silver. 16 ½ x 16 x 16 inches. Saint Louis Art Museum, St. Louis. Donald Judd (American, 1928–1994). Untitled, 1992. Set of four woodcuts. Each image: 25 x 37 ¾ inches. Saint Louis Art Museum, St. Louis. Peter Hujar (1934–1987) Candy Darling on Her Deathbead, 1973. Gelatin silver print. Image: 14 5/8 × 14 5/8 in. (37.1 × 37.1 cm.); sheet: 19 7/8 in. × 16 in. (50.5 × 40.6 cm.). Saint Louis Art Museum, St. Louis. Paul Thek (American, 1933–1988). Potlatch, 1975. Ink and gesso on newspaper. 23 × 29 in. (58.4 × 73.7 cm.). Saint Louis Art Museum, St. Louis. David Wojnarowicz (American, 1954–1992). Untitled (Face in Dirt), 1991. Gelatin silver print. Image: 19 in. × 19 3/4 in. (48.3 × 50.2 cm.); sheet: 19 7/8 in. × 24 in. (50.5 × 61 cm.). Saint Louis Art Museum, St. Louis. Enrique Chagoya (American, born Mexico, 1953). Printed And published by Smith Andersen Editions, Palo Alto. Liberty, 2006. Monotype. 34 5/8 × 47 7/8 in. (87.9 × 121.6 cm.). Saint Louis Art Museum, St. Louis. Enrique Chagoya (American, born Mexico, 1953). Printed and published by Shark's Ink, Lyons, CO. Escape from Fantasylandia: An Illegal Alien's Survival Guide, 2011. Lithograph with gold metallic powder on amate paper. Sheet (folded): 9 1/2 × 4 15/16 × 1/2 in. (24.1 × 12.6 × 1.3 cm.); sheet (unfolded): 9 1/2 in. × 80 in. (24.1 × 203.2 cm.). Saint Louis Art Museum, St. Louis. Bruce Nauman (American, born 1941). Printed and published by Gemini G.E.L. Los Angeles. Pay Attention, 1973. Lithograph. Image: 37 3/8 × 27 11/16 in. (94.9 × 70.3 cm.); sheet: 38 3/8 × 28 5/16 in. (97.5 × 71.9 cm.). Saint Louis Art Museum, St. Louis. Tom Huck (American, born 1971). Chili Dogs, Chicks, and Monster Trucks, from the portfolio 2 Weeks in August: 14 Rural Absurdities, 1997, printed 2000. Woodcut. 33 7/8 x 29 1/4 in. (86 x 74.3 cm.). Saint Louis Art Museum, St. Louis. Artist Jane Hammonds' snake patterns at Wildwood Press, St. Louis. Damon Davis (American, born 1985) signing All Hands on Deck #5, 2015. Photolithograph and graphite (from a set of 7). Sheet: 32 x 51 in. Wildwood Press, St. Louis. Artist Jerald Ieans working at Wildwood Press, St. Louis. Artist Josely Carvalho working at Wildwood Press, St. Louis, 2006. Artist Linda Schwarz working at Wildwood Press, St. Louis, 2004. Artist Linda Schwarz working at Wildwood Press, St. Louis, 2007. Artist Mary Judge working at Wildwood Press, St. Louis. Artist Michele Oka Doner working at Wildwood Press, St. Louis, 2007. Artist Xiaoze Xie working at Wildwood Press, St. Louis. Artist Valerie Hammond working at Wildwood Press, St. Louis. https://www.wildwoodpress.us/

In s3e18, host Ann Shafer talks with dealer Susan Teller, whose eponymous gallery operates out of the Mana Fine Arts facility in Jersey City, NJ. Susan specializes in American paintings and works on paper of the mid-twentieth century. She also works with multiple artists' estates including Peggy Bacon, William Baziotes, Bernarda Bryson Shahn, Sue Fuller, Michael J. Gallagher, Peter Grippe, Fannie Hillsmith, Hugh Mesibov, Angelo Pinto, Anne Ryan, Louis Schanker, Karl Schrag, Judith Shahn, Ben Shahn, Mitchell Siporin, Harry Sternberg, Ansei Uchima, and Lynd Ward. Ann was eager to talk with Susan about managing artists' estates. How do family members approach a pile of stuff in the attic by aunt so-and-so? And, of course, Susan's relationships with families of many of the women who worked at the New York Atelier 17 in the 1940s and 1950s was too intriguing for Ann to pass up. https://instagram.com/stg568 https://www.susantellergallery.com Mana Contemporary, Jersey City, NJ. Peggy Bacon (American, 1895–1987). Had Sung their Last Song and Related their Last Poem, 1931. Pen and ink. 8 x 6 in. Susan Teller Gallery, Jersey City. Guerrilla Girls (American, New York based, originated 1985). Guerrilla Girls' 1986 Report Card, 1986. Offset lithograph. Sheet: 559 x 432 mm. (22 x 17 in.). Baltimore Museum of Art, Baltimore. Fritz Eichenberg (American, 1901–1990). Day Care Center from the portfolio Dance of Death, 1980, printed 1983. Wood engraving. Image: 9 ¾ x 12 in.; sheet: 14 x 17 in. Brier Hill Gallery, Boston. Charles Keller (American, 1914–2006). The Latest Dirt, 1937. Lithograph. Sheet: 9 x 7 in. Susan Teller Gallery, Jersey City. Stanley William Hayter (British, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), green (screen, relief), orange (screen, relief), and purple (screen, relief). Sheet: 488 x 668 mm. (19 3/16 x 26 5/16 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Fannie Hillsmith (American, 1911–2007). Garden Plan I, c. 1945. Etching, softground etching, and open bite etching. Sheet: 482 × 327 mm. (19 × 12 7/8 in.); plate: 377 × 174 mm. (14 13/16 × 6 7/8 in.). Baltimore Museum of Art, Baltimore. Dorothy Dehner (American, 1901–1994). The Barn in Bolton, 1952. Etching and aquatint. Sheet: 498 x 379 mm. (19 5/8 x 14 15/16 in.); plate: 352 x 252 mm. (13 7/8 x 9 15/16 in.). Baltimore Museum of Art, Baltimore. David Smith (American, 1906–1965). Women and War, 1941. Etching and engraving. Sheet: 255 × 330 mm. (10 1/16 × 13 in.); plate: 173 × 227 mm. (6 13/16 × 8 15/16 in.). Baltimore Museum of Art, Baltimore. Anne Ryan (American, 1889–1954). Abstract for Elie, 1945. Engraving. Sheet: 285 × 224 mm. (11 1/4 × 8 13/16 in.); plate: 144 × 94 mm. (5 11/16 × 3 11/16 in.). Baltimore Museum of Art, Baltimore. Anne Ryan (American, 1889–1954). Primavera, 1946. Color woodcut on black paper. Sheet: 11 x 15 in. Susan Teller Gallery, Jersey City. Louis Schanker (American, 1903–1981). Musical Clowns, 1939. Color woodcut. Sheet: 356 × 458 mm. (14 × 18 1/16 in.); image: 289 × 380 mm. (11 3/8 × 14 15/16 in.). Baltimore Museum of Art, Baltimore. Sue Fuller (American, 1914–2006). Cacophony, 1944. Etching, softground etching, and aquatint. Sheet: 424 × 293 mm. (16 11/16 × 11 9/16 in.); plate: 300 × 225 mm. (11 13/16 × 8 7/8 in.). Baltimore Museum of Art, Baltimore. Kett (Margaret Kettunen Zegart; American, born 1926). Boulder Landscape. 1953. Engraving. Plate: 12 x 13 in. Susan Teller Gallery, Jersey City. Hugh Mesibov (American, 1916–2016). Space Venture, 1951. Woodcut. Image: 8 x 10 in. Susan Teller Gallery, Jersey City. Albert Heckman (American, 1893–1971). Storage Tanks at Rondout, 1933. Lithograph. Image: 10 ¾ x 13 ¼ in. Susan Teller Gallery, Jersey City. William Baziotes (American, 1912–1963). Untitled, c. 1948. Etching and softground etching. Sheet: 11 x 9 1/2 in. (27.9 x 24.1 cm.); plate: 5 7/8 x 7 7/8 in. (14.9 x 20 cm.). Reading Public Museum, Reading. Werner Drewes (American, born Germany, 1899–1985). Praying Mantis, 1944. Engraving. Sheet: 264 × 362 mm. (10 3/8 × 14 1/4 in.); plate: 198 × 301 mm. (7 13/16 × 11 7/8 in.). Baltimore Museum of Art, Baltimore. Sybil Andrews (British, 1898–1993). Racing, 1934. Color linoleum cut. Sheet: 295 x 382 mm. (11 5/8 x 15 1/16 in.); image: 260 x 345 mm. (10 1/4 x 13 9/16 in.). Baltimore Museum of Art, Baltimore. Mary Cassatt (American, 1844–1926). The Banjo Lesson, c. 1893. Drypoint and color aquatint with monoprint inking. Sheet: 404 × 324 mm. (15 7/8 × 12 3/4 in.); plate: 299 × 299 mm. (11 3/4 × 11 3/4 in.). Baltimore Museum of Art, Baltimore. Martin Lewis (American, born Australia, 1881–1962). Shadow Dance, 1930. Drypoint and sandpaper ground. Sheet: 330 × 373 mm. (13 × 14 11/16 in.). Baltimore Museum of Art, Baltimore. Thomas Hart Benton (American, 1889–1975). The Fence Mender, 1940. Crayon lithograph. Image: 254 x 354 mm. (10 x 13 15/16 in.). Baltimore Museum of Art, Baltimore. I

Platemark s2e23 continues hosts Ann Shafer and Tru Ludwig's conversation on reproductive prints. Once again, for clarity, a reproductive print is one in which an artist creates a design (a drawing, painting, sculpture) and another artist creates a print after that original design. These can be sanctioned by the first artist or not or they can occur long after the first artist's death. It is customary to acknowledge all the artists in the strip of lettering at the bottom of the print (called the address). This way credit is given where due. Over time, reproductive prints became quite formulaic and staid—wait until we get to the early 19th century. When photography was developed in the 1830s, it wasn't long before there was little need for the reproductive print. Episode image : Domenico del Barbiere (Italian, 1506–1565) after Michelangelo (Italian, 1475–1564). Group from Last Judgment, St. Bartholomew, St. Peter, and other Apostles, n.d. Engraving. Sheet: 14 3/4 x 8 7/8 in. (37.5 x 22.5 cm.). Metropolitan Museum of Art, New York. Israhel van Meckenem (German, c. 1445–1503) after Martin Schongauer (German, 1445–1491). Death of the Virgin, c. 1480/90. Engraving. Sheet (trimmed to plate mark): 24.8 x 16.9 cm (9 3/4 x 6 5/8 in.), National Gallery of Art, Washington, D.C. Martin Schongauer (German, 1445–1491). Death of the Virgin, c. 1470–74. Engraving. Plate: 25.7 x 16.8 cm. Achenbach Foundation, Fine Arts Museums of San Francisco. Albrecht Dürer (German, 1471–1528). The Presentation in the Temple, from the series The Life of the Virgin, c. 1505. Woodcut. Sheet: 17 3/8 x 12 1/16 in. (44.2 x 30.6 cm.); image: 11 11/16 x 8 3/16 in. (29.7 x 20.8 cm.). Metropolitan Museum of Art, New York. Marcantonio Raimondi (Italian, c. 1480–before 1534) after Albrecht Dürer (German, 1471–1528). The Presentation of Jesus to Simeon in the Temple, c. 1500–34. Engraving. Sheet (trimmed within platemark): 11 7/16 × 8 1/8 in. (29 × 20.7 cm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York. Master LCz (German, active c. 1480–1505). The Temptation of Christ, c. 1500/1505. Engraving. Sheet (trimmed to platemark): 227 x 165 mm. (8 15/16 x 6 ½ in.). National Gallery of Art, Washington, D.C. Martin Schongauer (German, c. 1435/50–1491). Saint Anthony Tormented by Demons, c. 1470–75. Engraving. Sheet: 30 x 21.8 cm (11 13/16 x 8 9/16 in). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 393 x 285 mm (15 1/2 x 11 1/4 in). Baltimore Museum of Art, Baltimore. Laocoön and His Sons, c. 200 BCE–70 CE. Marble. 208 × 163 × 112 cm. (6' 10 » × 5' 4 » × 3' 8 »). Vatican Museums, Vatican City. The Dying Gaul, Roman copy after a sculpture situated in the Pergamon Acropolis. Photo: DEA / G. NIMATALLAH/Getty Images Winged Victory of Samothrace, 2nd century BCE. Marble. Height: 2.75 m. Louvre, Paris. Marco Dente da Ravenna (Italian, active by 1515–1527). Laocoön and his two sons being attacked by serpents, c. 1506. Engraving. Sheet (trimmed to platemark): 11 1/8 × 15 5/8 in. (282 × 397 mm.). Metropolitan Museum of Art, New York. Marco Dente da Ravenna (Italian, active 1515–1527). Laocoön and his two sons being attacked by serpents, c. 1520. Engraving. Sheet (trimmed to platemark): 17 7/16 × 12 15/16 in. (443 × 329 mm.). Metropolitan Museum of Art, New York. Nicolas Beatrizet (French, 1515–c. 1566). Laocoön, 16th century. Engraving. Sheet (trimmed to platemark): 17 1/2 x 12 3/16 in. (44.5 x 31 cm.). Metropolitan Museum of Art, New York. William Blake (British, 1757–1827). Laocoön, c. 1826–27. Engraving. Félix Bracquemond (French, 1833–1914). Portrait of Edmond de Goncourt, 1881–82. Etching and drypoint (eighth state of eight). Plate: 510 x 339 mm (20 1/16 x 13 3/8 in.). Minneapolis Institute of Arts, Minneapolis, MN. Félix Bracquemond (French, 1833–1914). Portrait of Edmond de Goncourt, 1881–82. Etching and drypoint (first state of eight). Plate: 510 x 339 mm (20 1/16 x 13 3/8 in.). Metropolitan Museum of Art, New York. Michelangelo (Italian, 1475–1564). David, 1504. Marble. Height: 16.9 ft. Galleriea dell'Accademia, Florence. Michelangelo (Italian, 1475–1564). Awakening Slave, c. 1520–23. Marble. Height : 267 cm. Galleriea dell'Accademia, Florence. Michelangelo (Italian, 1475–1564). The Atlas, c. 1530–34. Marble. Height : 277 cm. Galleriea dell'Accademia, Florence. Giorgio Ghisi (Italian, 1520–1582) after Raphael (Italian, 1483–1520). The School of Athens, 1550. Engraving. Sheet (trimmed within platemark): 513 x 810 mm. (20 3/8 x 31 7/8 in.). British Museum, London. Michelangelo (Italian, 1475–1564). The Last Judgment, 1536–41. Fresco. 13.7 m × 12 m (45 × 39 ft.). Sistine Chapel, Vatican City. Giulio Bonasone (Italian, 1531–after 1576) after Michelangelo (Italian, 1475–1564). The

In s3e17, Platemark host Ann Shafer talks with print dealer Jeannot Barr, who organized the first (and many subsequent) New York Print Fair in 1984. They touch on pricing, buying at auction, fair organization, and a host of other business-of-art topics. They delve into the Ferdinand Roten Gallery (based in Baltimore) and his traveling mini print fairs set up in various schools and universities in the second half of the twentieth century. They also touch upon the Associated American Artists, whose tag line was Art in Every Home, as well as the proliferation of regional print collectors' clubs. Episode image: selfie by Ann Shafer with Jeannot Barr and Tru Ludwig, Satellite Print Fair, New York, October 2022. Jeannot Barr's collection of early New York Print Fair brochures, including the first iteration from 1984, which was staged at Lillie Deveraux Blake School (P.S. 6), 45 East 81st Street, NY. Collection of Jeannot Barr. Partial list of exhibitors from the first New York Print Fair brochure, 1984, which was staged at Lillie Deveraux Blake School (P.S. 6), 45 East 81st Street, NY. Collection of Jeannot Barr. Second annual New York Print Fair, 1985. The first time in the Park Avenue Armory. Collection of Jeannot Barr. Photo by Rick Jackofsky. Directory and floor plan of second New York Print Fair, 1985. Collection of Jeannot Barr. Lecture series offered during second New York Print Fair, 1985. Collection of Jeannot Barr. Floor plan from the New York Print Fair, 1987. Collection of Jeannot Barr. Catalogue for the 1987 New York Print Fair. Collection of Jeannot Barr. Floor plan for the 1988 New York Print Fair. Collection of Jeannot Barr. Lecture series and directory of the New York Print Fair, 1989. Collection of Jeannot Barr. Print dealers William Carl and Daniel Lienau, New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto. Bin lookers at the New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto. Bin lookers at the New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto. Jeannot Barr (with crossed arms) in the Print Fair management office at the New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto. Print Dealer James Bergquist talks with a client at the New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto. Shoppers at the New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto. The New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto. Paul-Alex Deschmacker (French, 1889–1973). Seated Old Woman. Graphite. Collection of Jeannot Barr. Elizabeth Seaton, Jane Myers, and Gail Windisch, eds. Art for Every Home: Associated American Artists, 1934–2000. New Haven: Yale University Press, 2015. Jeannot Barr's website http://www.jrbarrprintsanddrawings.com/ Jeannot Barr's Facebook account https://www.facebook.com/search/top?q=jeannot%20r.%20barr%2C%20drawings%20%26%20prints Print Fair links IFPDA Print Fair https://www.fineartprintfair.org/ Satellite Print Fair https://onpaper.art/ny-satellite-print-fair-2022 Cleveland Fine Print Fair https://www.printclubcleveland.org/fine-print-fair/ Portland Fine Print Fair https://portlandartmuseum.org/printfair/ Los Angeles Fine Print Fair https://losangeles-printfair.com/ Bay Area Fine Print Fair http://www.kala.org/exhibition/west-coast-print-fair/ McNay Print Fair https://www.mcnayart.org/print-fair/ Print Clubs (collector groups, not printmaker groups) Print Club of New York http://printclubofnewyork.org/ Washington Print Club https://washingtonprintclub.org/ Print Club of Cleveland https://www.printclubcleveland.org/ Print Club of Albany http://pcaprint.org/ Print Club of Rochester https://printclubofrochester.org/ American Historical Print Collectors Society https://ahpcs.org/ Buffalo Print Club http://buffaloprintclub.org/ Association of Print Scholars https://printscholars.org/

In s3e16, host Ann Shafer speaks with Hope Saska, chief curator and director of academic engagement at the CU Art Museum, that's the museum at the University of Colorado Boulder. Hope's specialty is in 18th-century British graphic satire and caricature. But like so many curators of works on paper, she can talk to you about Albrecht Dürer through tomorrow. CU Art Museum recently become the repository of the archive of the print publisher Shark's Ink, Lyons, CO. The Sharkive contains prints and related materials—all printed by Bud and Barbara Shark in the last 40 years—of collaborative work in lithography, monotype and woodcut. According to CU's website: "It contains the final print from each of more than 700 limited editions and a rich assortment of preparatory materials—drawings, reference materials, color trial proofs, proofs with paper alternatives and artist and printer notes, and color separation proofs—that reveal the artistic and the printmaking processes." You can read more here: https://www.colorado.edu/cuartmuseum/collection/sharkive. In addition, the Art Museum has an exhibition on view through July 2023 featuring highlights from the Sharkive. Hope and Ann geek out over how in the world does one wrangle such a gift, down to the numbering system used to track all the various bits. It's always fun to think about the nitty gritty of managing a sizeable collection. Some of the ins and outs may surprise Platemark listeners. Episode image: Photo by Patrick Campbell, CU Senior Staff Photographer, © CU Art Museum William Hogarth (British, 1697–1764). The Five Orders of Periwigs, 1761. Etching. Sheet: 11 7/8 x 8 5/8 in. (30.2 x 21.9 cm.). Metropolitan Museum of Art, New York. Romeyn de Hooghe (Dutch 1645–1708). The Epiphany of the New Antichrist, 1689. Etching and letterpress. Sheet: 22 9/16 x 15 7/16 in. (57.3 x 39.2 cm.). Metropolitan Museum of Art, New York. Betty Woodman assembles Vases and Windows prints at Shark's Ink, Lyons, CO. Curator Hope Saska (right) and Registrar Maggie Mazzullo (left) with a sliver of the Sharkive, CU Art Museum, Boulder, CO. Photo: CU Art Museum Sharkive Collection. Photo by Patrick Campbell, CU Sr. Staff Photographer, © CU Art Museum. Bud Shark prints Convergence in his studio Shark's Ink in Lyons, CO, 2014. Photo: Shark's Ink. Bud Shark looks on as Enrique Chagoya signs work at Shark's Ink, Lyons, CO, 2005. Photo: Shark's Ink. Installation view of Onward and Upward: Shark's Ink, CU Art Museum, September 6, 2022–July 2023. Photo by Wes Magyar, © CU Art Museum.

In s3e15, Platemark host Ann Shafer talks with printer Julia D'Amario, who has been the printer at the Jordan Schnitzer Printmaking Residency at the Sitka Center for Art and Ecology in Otis, OR, since 2002. Formerly she printed for Pace Prints in New York from 1989–2008. In between all that, since 2008 she has spent summers printing for Jim Dine in his Walla Walla, WA, studio. In fact, Dine lists Julia among his favorite printers—and he has worked with many, many printers across the world. If that weren't enough, Julia is set to open her home shop to artists in the near future. In this episode, Julia, whose specialty is intaglio prints, relates her early experience at the Robert Blackburn Printmaking Studio, where she met future Pace Prints colleague and Platemark guest Bill Hall. She tells us about favorite projects at Pace and Sitka, working with Jim Dine, and her love of prints and printmaking. Episode image: Lainie Koch. Sitka Center for Art and Ecology, Otis, Oregon. Nearby is the incredible view at Cascade Head, Oregon. At Jim Dine's studio in Walla Walla, WA, 2007. Top: Ruth Lingen, Jim Dine, Bill Lagatutta. Bottom: Kathy Kuehn, Nina Dine, Julia D'Amario. Julia D'Amario's home in Surprise Valley, CA. Julia D'Amario's home studio in Surprise Valley, CA. Robert Blackburn with (left-right): Bill Hall, Agnes Murray, Julia D'Amario, Marjorie Van Dyke, Suzanne Gaffney, Lyn Rogan, and Jennifer Lynch, c. 1984. Making monoprints with Ellsworth Ausby at Robert Blackburn Printmaking Workshop, New York, 1983. Photo: Lynn Rogan. Entrance to Robert Blackburn Printmaking Workshop, 114 West 17th Street, 1983. Photo: Lynn Rogan. Sandy Gellis (American, born 1940), printed by Julia D'Amario. Great Bird Series, 1997. Diptych: two softground etchings with aquatint. Plate (each): 12 3/4 × 6 1/4 in. (32.4 × 15.9 cm.). Jim Dine with Julia D'Amario and Kathy Kuehn signing editions for the portfolio A History of Communism, 2014, at Dine's Walla Walla, WA, studio. April Gornik (American, born 1953), published by the Print Club of New York, printed by Julia D'Amario. Loire, 1995. Etching and aquatint. Plate: 16 13/16 x 19 7/8 in. (42.7 x 50.5 cm.). Mary Heilmann (American, born 1940), published by Pace Prints, printed by Julia D'Amario. Hip Hop, 2002. Aquatint in colors. Plate: 39 × 30 in, (99.1 × 76.2 cm.). Sandy Gellis (American, born 1940). NYC Rainfall: 1987, 1987. 124 etchings. Sandy Gellis (American, born 1940). Spring in the Northern Hemisphere, 1987-88. Portfolio of 12 etchings. Each plate: 12 x 12 in. (30.5 x 30.5 cm.); overall: 35 1/2 × 48 in. (90.2 × 121.9 cm.). Whitney Museum of American Art, New York. Marie Watt working at Sitka Center for Art and Ecology during her Jordan Schnitzer Printmaking Residency, 2022, Sitka Center for Art and Ecology, Otis, OR. Julia D'Amario's aquatint from Little Hat Mountain series. Drying tarlatans at Julia D'Amario's home studio, Surprise Valley, CA. Jim Dine (American, born 1935), published by Pace Prints, printed by Julia D'Amario and Ruth Lingen. Raven on Lebanese Border, 2000. Softground etching and woodcut with white paint (hand coloring). Sheet: 781 × 864 mm. (30 3/4 × 34 in.); image: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore. Jim Dine and Julia D'Amario beginning work on spitbite etchings for Electrolyte in Blue and Astonishing, Health and Sunshine (60 litho-etching combination prints incorporated into a book of poems titled, Electrolyte in Blue and also mounted together on three separate sheets for Astonishing, Health and Sunshine, 2021, at Dine's Walla Walla, WA, studio. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Jennifer Bartlett (American, 1941-2022), published by Pace Prints, printed by Julia D'Amario and Aldo Crommelynck. Boat, 1999. Color aquatint. Plate: 22 x 29 3/4 in. (55.9 x 75.6 cm.).

In Platemark s3e14, host Ann Shafer speaks with James Ehlers, professor and chair of the studio art department at Emporia State University in Emporia, Kansas. It turns out, Emporia State offers the only BFA in engraving arts in the United States. Platemark listeners will know Ann has a soft spot for intaglio prints with an abiding love of engraving due to her studies of Stanley William Hayter. With so few artists working in engraving these days, the chance to speak with the professor of that discipline at the only US college to offer it was too good to pass up. The most surprising thing was the popularity of engraving courses as it applies to objects rather than prints. Beautiful, intricate swirling designs adorn jewelry, rifles, and knives. No ink or press necessary. Episode image: Dave Leiker James Ehlers (American, born 1976). Octopus ring. James Ehlers (American, born 1976). Tick Tick Boom, 2020. Engraving. Gerry Wubben (American, born 1963?). Landscape. Engraving. Plate: 12 x 36 inches. Collection of James Ehlers. Jack Orman (American, 1930–2020). The Little Fish. Engraving. Collection of James Ehlers. Hayter prints in Ann Shafer's dining room, Baltimore. Stanley William Hayter (British, 1901–1988). Warriors (Guerriers), 1953. Color engraving, softground etching, and scorper. Plate: 18 3/4 x 13 3/16 in. Annex Galleries. Stanley William Hayter (British, 1901–1988). Combat, 1936. Engraving, softground etching, and scorper. Plate: 15 3/4 × 19 1/4 in. (40 × 48.9 cm.); sheet: 21 in. × 23 1/2 in. (53.3 × 59.7 cm.). Metropolitan Museum of Art, New York. Stanley William Hayter (British, 1901–1988). Amazon, 1945. Engraving, softground etching, and scorper. Plate: 24 1/2 x 15 7/8 in. (62.2 x 40.3 cm.); sheet: 29 15/16 x 20 ¼ in. (76 x 51.4 cm.). Museum of Modern Art, New York. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 245 x 189 mm (9 5/8 x 7 7/16 in.). Spencer Museum of Art, University of Kansas, Lawrence. John Decker (American). Knight Death and the Devil after Durer, 2022. Engraving. 6 x 4 in. James Stroud (American, born 1958). Burin Studies (state 1-14 and final), 1980. Engraving. Sheet (each): 250 × 205 mm. (9 13/16 × 8 1/16 in.); plate (each): 184 × 138 mm. (7 1/4 × 5 7/16 in.). Baltimore Museum of Art. Baltimore. Oscar Gillespie (American, born 1952). Red Dog Fetish, 1982. Engraving. Plate: 30 x 20 in. Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 39.3 x 28.5 cm (15 1/2 x 11 1/4 in). Metropolitan Museum of Art, New York. James Ehlers (American, born 1976). Be Strong Be Resilient Be Utterly Terrified, 2020. Engraving. Plate: 12 x 9 inches. David Avery (American, born 1952). Too Close to the Sun, 2013. Etching. Plate: 6 x 6 in.; sheet: 12 x 11 in. Childs Gallery. James Ehlers (American, born 1976). Forgiveness and Redemption, 2021. Engraving. Plate: 12 x 18 inches. Andrew Raftery (American, born 1962). Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Set of twelve earthenware dinner plates with transferred engravings (recto and verso). Each plate: 12 1/2 × 12 1/2 in. (31.8 × 31.8 cm.). Baltimore Museum of Art, Baltimore. James Ehlers (American, born 1976). Race the Sun, 2022. Engraving. Plate: 6 x 4 in. James Ehlers (American, born 1976). Artifice, 2017. Engraving. Plate: 7 ¼ x 9 inches. James Ehlers (American, born 1976). Pin Cushion, 2020. Engraving. Plate: 6 x 4 inches. James Ehlers (American, born 1976). Coming and Going Empty Handed (state ii), 2022. Engraving. Plate: 15 x 20 inches. USEFUL LINKS James Ehlers' Instagram page: https://www.instagram.com/jehlers928/ James Ehlers' website: https://jamesehlers.wordpress.com/ James Ehlers' Facebook page: https://www.facebook.com/james.ehlers.75 James Ehlers' YouTube channel: https://www.youtube.com/channel/UC728Eoe2ReUrhC7zx21f64g Engraving degree at Emporia State University: https://www.emporia.edu/department-liberal-arts-sciences/art-department/academics-programs/bachelor-fine-arts/bachelor-fine-arts-engraving-arts-concentration/ Makers of pneumatic engraving tools, Glendo LLC: www.glendo.com Available prints by Hayter are at Galerie Michelle Champetier: www.MChampetier.com and at www.dolanmaxwell.com Ann Shafer's talk on Hayter: https://youtu.be/q0QOuDdoVts Film of Stanley William Hayter creating the print Angels Wrestling, 1950: https://www.youtube.com/watch?v=wUIM9ZiMqzw Society of American Graphic Artists: www.sagaprints.com

More on reproductive prints, the backbone of the history of prints

In a Platemark first we speak with a previous guest for a special update. Artist Tom Hück agreed to talk to hosts Ann Shafer and Tru Ludwig at his Evil Prints studio in Park Hills, Missouri, in August 2022. Hück is releasing his latest print edition on Thanksgiving Day, a rumination on American gluttony called Monkey Mountain Kronikle. Created over a number of years, Monkey Mountain Kronikle is a large-scale, double-sided woodcut triptych that opens and closes like a traditional altarpiece. It stars Lord Aporkalyptus and his bevy of brides. Dubbed a "devotional woodcut for the ages," the triptych is full of details about gluttony in terms of sports, politics, and of course, fast food. Co-published by Evil Prints and Peacock Visual Arts in Aberdeen, Scotland, Monkey Mountain Kronikle is epic, biting, sarcastic, funny, and would make Hück's hero Albrecht Dürer proud. Hück has had a seriously busy fall. In addition to finishing the edition, his work was featured in last summer's Saint Louis Art Museum's exhibition Catching the Moment, and a lavish book on Hück's output (1995-2020) has just been published by Fine Print Small Press (fineprintsmallpress.com). In our interview, Hück talks about the new project and a host of other things. Ann knew very well that the first face-to-face meeting of Tru and Hück would be monumental. Platemark listeners can imagine that they would have lots to talk about. Ann simply wound them up and let them go. Here are some useful links: www.lordaporkalyptus.com https://www.youtube.com/watch?v=ZOnISzYOniY https://www.youtube.com/watch?v=8x5jmAQEXb4 http://www.evilprints.com/about https://www.instagram.com/evilprints/ Episode image: selfie by Ann Shafer with Tru Ludwig, and Tom Hück, Blueberry Hill, St. Louis, August 2022. Critical to any studio visit: coffee. Tru Ludwig gratefully accepts a cuppa from Tom Hück, Evil Prints, Park Hills, MO, August 2022. Tom Hück in his studio, Park Hills, MO, August 2022. Tru Ludwig and Tom Hück at Evil Prints, Park Hills, MO, August 2022. Albrecht Dürer (German, 1471–1528). Rhinoceros, 1515. Woodcut. 23.3 x 29.2 cm. (9 3/16 x 11 1/2 in). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Martyrdom of Saint Catherine, c. 1498. Black ink on carved pearwood. 15 1/2 × 11 1/8 × 1 in. (39.4 × 28.3 × 2.6 cm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Martyrdom of Saint Catherine, c. 1498. Woodcut. Sheet (trimmed near platemark): 15 9/16 x 11 5/16 in. (39.6 x 28.8 cm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Death of the Virgin, from the series Life of the Virgin, 1510. Woodcut. Sheet: 11 9/16 x 8 3/16 in. (294 x 208 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Ecce Homo, from the series Large Woodcut Passion, c. 1498. Woodcut. Baltimore Museum of Art, Baltimore. Albrecht Dürer (German, 1471–1528). Ecce Homo, from the series Large Woodcut Passion, c. 1498. Woodcut with hand coloring. Baltimore Museum of Art, Baltimore. Albrecht Dürer (German, 1471–1528). Four Female Nudes (The Four Witches), 1497. Engraving. 19.2 x 13.6 cm (7 5/8 x 5 3/8 in). Albertina, Vienna. Hans Baldung (called Hans Baldung Grien) (German, 1484/85–1545). The Witches, 1510. Chiaroscuro woodcut in two blocks, printed in gray and black; second of two states. Sheet: 15 5/16 × 10 5/8 in. (38.9 × 27 cm.). Metropolitan Museum of Art, New York. Boris Vallejo (Peruvian-American, born 1941). Artwork for Ozzie Osborne's album, Ultimate Sin, 1986. Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 39.3 x 28.5 cm (15 1/2 x 11 1/4 in). Baltimore Museum of Art, Baltimore. William Hogarth (British, 1697–1764). Strolling Actresses Dressing in a Barn, 1738. Etching and engraving. Sheet (trimmed near platemark): 17 15/16 x 22 7/16 in. (45.5 x 57 cm.). Metropolitan Museum of Art, New York. Hück's prize acquisition, an engraving by William Hogarth (British, 1697–1764). Strolling Actresses Dressing in a Barn, 1738. Etching and engraving. Plate: 17 15/16 x 22 7/16 in. (45.5 x 57 cm.). Tom Hück (American, born 1971), published by Evil Prints and Peacock Visual Arts Ltd. A Monkey Mountain Kronikle, 2018–22. Woodcut printed recto and verso on four sheets of Torinoko Japanese paper; the three leaves of the triptych joined. Open with bottom predella: 60 × 94 in. (152.4 × 238.8 cm.); closed: 48 × 48 in. (121.9 × 121.9 cm.). Albrecht Dürer (German, 1471–1528). Triumphal Arch of Maximilian I, 1515. Woodcut, 195 woodblocks printed on 36 sheets of large folio paper. Overall size: 354 x 298.5 cm (139 3/8 x 117 1/2 in.). Metropolitan Museum of Art, New York. Tom Hück (American, born 1971), published by Evil Prints. The Transformation of Bra

Platemark series two, A History of Western Prints, returns with an episode about reproductive prints. In s2e21, Tru Ludwig takes listeners back to a time when lives were lived with no images save for maybe what one saw in church. Prints were the way the first images were widely consumed; they were that era's internet. A reproductive print is one in which an artist's creation (a drawing, painting, or sculpture) is recreated by another artist as a print after that original design. These can be sanctioned by the first artist or not. They can occur long after the first artist's death. It is customary to acknowledge all the artists in the strip of lettering at the bottom of the print (called the address). This way credit is given where due. Over time, reproductive prints became quite formulaic and staid. When photography was developed in the 1830s, it wasn't long before there was little need for the reproductive print. Those interpretations of an artwork were replaced with actual photographic reproductions of the images. In addition, arbiters of taste have created false hierarchies of subject matter and techniques and have designed an entire framework around originality and uniqueness. Prints can keep up with subject matter but have generally gotten the short stick on these other counts. There is also the matter of property rights, copyright, etc. Keep in mind these are concepts that developed over time and were not matters of law until rather recently. All of these issues are wrapped up in Tru's tale about reproductive prints. Enjoy the ride. Episode images: (LEFT) Martin Schongauer (German, 1445–1491). Baptism of Christ, 1481 or before. Engraving. Sheet (trimmed within platemark): 158 x 159 mm. (6 1/4 x 6 1/4 in.). Baltimore Museum of Art, Baltimore. (AND RIGHT) Urs Graf (Swiss, c. 1485–1527/29). Baptism of Christ, 1505. Engraving. Sheet (trimmed near platemark): 213 x 143 mm. (8 3/8 x 5 5/8 in.). Baltimore Museum of Art, Baltimore. [DETAIL] Gilbert Stuart (American, 1755–1828). George Washington (Athenaeum Portrait), 1796. Oil on canvas. 121.9 x 94 cm. (48 x 37 in.). Jointly owned by the National Portrait Gallery, Washington, D.C. and the Museum of Fine Arts, Boston. Johann Gutenberg (German, c. 1400–1468) and Johann Fust (German, 1400–1466). Biblia Latina, c. 1455. Bound volume with letterpress text. Morgan Library and Museum, New York. Andreas Vesalius (Italian, 1514–1564). De humani corporis fabrica (On the Fabric of the Human Body). Padua: School of Medicine, 1543. Sir Joshua Reynolds (British, 1723–1792). The Infant Samuel, 1776. Oil on canvas. 80 x 70 cm. Musée Fabre, Montpellier. John Sartain (British, 1808–1897) after Sir Joshua Reynolds (British, 1723–1792). The Infant Samuel, c. 1825. Mezzotint. Private Collection. Rosa Bonheur (French, 1822–1899). The Horse Fair, 1852–55. Oil on canvas. 96 ¼ x 199 ½ in. (244.5 x 506.7 cm.). Metropolitan Museum of Art, New York. Currier & Ives, after Rosa Bonheur (French, 1822–1899). The Horse Fair, c. 1900-20. Chromolithograph. Image: 15 7/8 x 25 1/16 in. Paul Revere (American, 1734–1818) after Henry Pelham (American, 1749–1806). The Boston Massacre, 1770. Engraving and etching with hand coloring. Plate: 10 ¼ x 9 1/8 in. (26 x 23.2 cm.); sheet: 11 x 9 9/16 in. (27.9 x 24.3 cm.). Metropolitan Museum of Art, New York. Four states of Rembrandt's Three Crosses and quotation from Ernst Ludwig Kirchner. Erin Womack after Jacques Callot (French,1592–1635). Le Buveur vu de Face, plate 6 from Les Gobbi, 1622. Etching and engraving. Achenbach Foundation, Fine Arts Museum of San Francisco. Adrienne Figus after Giovanni Battista Piranesi (Italian, 1720–1778). The Drawbridge, plate 7 from the series Carceri, 1761. Etching and engraving. Plate: 556 x 411 mm. British Museum, London. Abby Uhteg after Honoré Daumier (French, 1808–1879). Nadar élevant la Photographie à la hauteur de l'Art, 1862. Lithograph. Sheet: 44.8 × 30.9 cm. (17 5/8 × 12 3/16 in.). National Gallery of Art, Washington, D.C. Shane Darwent after Vasily Kandinsky (French, born Russia, 1866–1944). Lyrical (Lyrisches) (plate, folio 9) from Klänge (Sounds), 1913. Woodcut. Image: 5 13/16 x 8 9/16 in. (14.8 x 21.7 cm.); sheet: 11 1/16 x 10 7/8 in. (28.1 x 27.7 cm.). Museum of Modern Art, New York. Kelsey Beyer after Max Klinger (German, 1587–1920). The Seduction, plate 4 from the portfolio A Life, 1884–98. Etching. Plate 41.5 x 21.5 cm. (16 5/16 x 8 7/16 in.). Metropolitan Museum of Art, New York. Lissandra DelCampo after Lovis Corinth (German, 1858–1925). Death and the Artist, from the series Dance of Death, 1921. Etching and drypoint. Sheet: 14 3/16 in. × 10 in. (36 × 25.4 cm.); plate: 9 7/16 × 7 1/16 in. (23.9 × 17.9 cm.). Metropolitan Museum of Art, New York. Lovis Corinth (German, 1858–1925). Death and the Artist, from the series Dance of Death, 1921. Etching and drypoint. Sheet: 14 3/16 in. × 10 in. (36 × 25.4 cm.); plate: 9 7/16 × 7 1/16 in. (23.9 × 17.9 cm.). Metropolitan Museum of Art, New York. Eileen Shigagaw

In s3e12, Platemark host Ann Shafer speaks with Maureen Warren, curator of European and (North) American art at the Krannert Art Museum at the University of Illinois, Urbana-Champaign. For ten years Maureen has been studying, researching, and writing about prints in the Dutch Republic, which was the basis of her dissertation at Northwestern University. At long last, all that hard work has come to fruition in an exhibition and scholarly catalogue. Fake News & Lying Pictures: Political Prints in the Dutch Republic examines the visual strategies of Dutch printmakers and the ways they used images to promote political interests. The exhibition runs from August 25–December 17, 2022. The exhibition travels to other venues: University Galleries, University of San Diego, February 10–May 12, 2023; and Smith College Museum of Art, September 15, 2023–January 7, 2024. The project got major support from the Getty Foundation Paper project, formally known as The Paper Project: Prints and Drawings Curatorship in the 21st Century. The funds are meant to help an early-career curator see a major projects to completion. There are, of course, other supporters to the project. A full list is over on the Krannert's website: https://kam.illinois.edu/exhibition/fake-news-lying-pictures-political-prints-dutch-republic. Maureen's beautiful book is available for purchase here: https://kam.illinois.edu/publication/paper-knives-paper-crowns-political-prints-dutch-republic. Episode photo credit: L. Brian Stauffer Hendrick Goltzius (Dutch, 1558–1617). Funeral Procession for William I of Orange, 1584. Etching and engraving. Hearn Family Trust. Willem Jacobsz. Delft (Dutch, 1580–1638), after Michiel Jansz. Van Mierevelt (Dutch, 1566–1641). Portrait of Johan van Oldenbarnevelt (1547–1619), 1617. Engraving. Krannert Art Museum, University of Illinois, Urbana-Champaign. Hendrick Hondius (publisher, Dutch, 1573–1649 or after), Pieter van der Heyden (Netherlandish, c. 1525–after 1572), after Pieter Bruegel the Elder (Netherlandish, c. 1525/1530–1569). Big Fish East Little Fish, c. 1557–1650. Engraving. Sheet (trimmed to platemark: 209 x 291 mm. Museum Boijmans van Beuningen, Rotterdam. Hendrick Hondius (publisher, Dutch, 1573–1649 or after), Pieter van der Heyden (Netherlandish, c. 1525–after 1572), after Pieter Bruegel the Elder (Netherlandish, c. 1525/1530–1569). Barneveltsche Monster (Big Fish Eat Little Fish), c. 1557-1650. Engraving. Sheet (trimmed to platemark: 209 x 291 mm. Atlas Van Stolk, Rotterdam. Unknown artist. The Terrible Death of Johan and Cornelis de Witt, c. 1672. Etching, engraving, and letterpress. Sheet: 15 3/8 x 11 in. (39 x 28 cm.). Krannert Art Museum, University of Illinois, Urbana-Champaign. Unknown artist. Mirror of the Street, Citizen's Justice, 1672. Etching and letterpress. Krannert Art Museum, University of Illinois, Urbana-Champaign. Willem van Swanenburg (Netherlandish, 1580–1612), after Jacques de Gheyn (Netherlandish, 1565–1629). Sailing Cars, 1603. Engraving with hand coloring. Atlas Van Stolk, Rotterdam. Claes Jansz Visscher (Netherlandish, 1587–1652). View of Amsterdam, 1611. Etching, engraving, and letterpress. Overall: 62.8 x 171.7 cm. Atlas Van Stolk, Rotterdam. [DETAIL] Claes Jansz Visscher (Netherlandish, 1587–1652). View of Amsterdam, 1611. Etching, engraving, and letterpress. Overall: 62.8 x 171.7 cm. Atlas Van Stolk, Rotterdam. [DETAIL] Claes Jansz Visscher (Netherlandish, 1587–1652). View of Amsterdam, 1611. Etching, engraving, and letterpress. Overall: 62.8 x 171.7 cm. Atlas Van Stolk, Rotterdam. [DETAIL] Claes Jansz Visscher (Netherlandish, 1587–1652). View of Amsterdam, 1611. Etching, engraving, and letterpress. Overall: 62.8 x 171.7 cm. Atlas Van Stolk, Rotterdam. [DETAIL] Claes Jansz Visscher (Netherlandish, 1587–1652). View of Amsterdam, 1611. Etching, engraving, and letterpress. Overall: 62.8 x 171.7 cm. Atlas Van Stolk, Rotterdam. Romeyn de Hooghe (Dutch, 1645–1708). Marriage of William and Mary, 1677. Etching. Krannert Art Museum, University of Illinois, Urbana-Champaign. Romeyn de Hooghe (Dutch, 1645–1708). La belle Constance dragonée par Arlequin deodat, c. 1689. Engraving and letterpress. Sheet: 15 3/16 x 14 15/16 in. (38.5 x 38 cm.). Krannert Art Museum, University of Illinois, Urbana-Champaign. Jacques Bellange (French, 1575–1616). Pietà, 1612–16. Etching with stippling and engraving. Sheet (trimmed to platemark): 12 13/16 x 7 13/16 inches (31 x 19.8 cm.). Metropolitan Museum of Art, New York. Claes Jansz Visscher (Dutch, 1587–1652). The Far-famed House of Nassau or Orange, c. 1628–29. Engraving. Krannert Art Museum, University of Illinois, Urbana-Champaign.

In s3e11, Platemark host Ann Shafer talks with artist LaToya M. Hobbs whose commissioned installation will be on view as visitors enter the IFPDA Print Fair at the end of October 2022. The works will be front and center at the entrance and will no doubt garner lots of attention for LaToya. Speaking with LaToya was a distinct pleasure for Ann because the artist is based in Baltimore, is full-time faculty at the Maryland Institute College of Art, and recently had a monumental, five-part, carved wood piece on view at the Baltimore Museum of Art, which the museum subsequently purchased for its permanent collection. LaToya's work deals with figurative imagery that addresses the ideas of beauty, cultural identity, and womanhood as they relate to women of the African Diaspora. LaToya is a founding member of Black Women of Print, a collective whose vision is to make visible the narratives and works of Black women printmakers, past, present, and future. LaToya grew up in Little Rock, Arkansas, received her B.A. in painting from the University of Arkansas at Little Rock, and earned an M.F.A. in printmaking at Purdue University. Because of LaToya's commission for the 2022 IFPDA Print Fair in New York (that's the International; Fine Print Dealers Association), that Association is sponsoring this episode of Platemark. Episode image by Mike Jon; photos of Hobbs' artwork by Ariston Jacks. Elizabeth Catlett (American and Mexican, 1915–2012), published by Taller de Grafica Popular, Mexico City. Sharecropper, 1952. Color linoleum cut. Image: 17 5/8 x 16 5/8 in. (44.77 x 42.23 cm.); Sheet: 22 x 19 5/8 in. (55.88 x 49.85 cm.). Minneapolis Institute of Art, Minneapolis. LaToya M. Hobbs (American, born 1983). Portrait of a Mother, 2019. Oil, acrylic, and relief carving on wood panel. 72 x 48 inches. Installation view of LaToya M. Hobbs (American, born 1983). Carving Out Time, 2020-21. Five panels: acrylic, ink, and relief carving on cherry wood panel. Each: 96 x 144 inches. Baltimore Museum of Art, Baltimore. LaToya M. Hobbs (American, born 1983). Carving Out Time Scene 1: Morning, 2020-21. Acrylic, ink, and relief carving on cherry wood panel. 96 x 144 inches. Baltimore Museum of Art, Baltimore. LaToya M. Hobbs (American, born 1983). Carving Out Time Scene 2: Homeschool and Housework, 2020-21. Acrylic, ink, and relief carving on cherry wood panel. 96 x 144 inches. Baltimore Museum of Art, Baltimore. LaToya M. Hobbs (American, born 1983). Carving Out Time Scene 3: Dinner Time, 2020-21. Acrylic, ink, and relief carving on cherry wood panel. 96 x 144 inches. Baltimore Museum of Art, Baltimore. LaToya M. Hobbs (American, born 1983). Carving Out Time Scene 4: Bedtime for the Boys, 2020-21. Acrylic, ink, and relief carving on cherry wood panel. 96 x 144 inches. Baltimore Museum of Art, Baltimore. LaToya M. Hobbs (American, born 1983). Carving Out Time Scene 5: Studio Time, 2020-21. Acrylic, ink, and relief carving on cherry wood panel. 96 x 144 inches. Baltimore Museum of Art, Baltimore. Kerry James Marshall (American, b. 1955). Untitled, 1999. 8-color woodcut, 12 panels; 243.8 x 1,524 cm. Orlando Museum of Art. Photo: Howard Agriesti. © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York. Charles White (American, 1918–1979). Voice of Jericho (Folksinger), 1958. Linoleum cut. Sheet: 1003 x 540 mm. (39 1/2 x 21 1/4 in.); image: 917 x 458 mm. (36 1/8 x 18 1/16 in.). Baltimore Museum of Art, Baltimore. Nicholas Nixon (American, born 1947). Portraits of the Brown Sisters. Bisa Butler (American, born 1973). Four Little Girls, September 15, 1963, 2018. Cotton, silk, and lace. 61 x 78 in. (154.9 x 198.1 cm.). Collection of Michelle and Pete Scantland. LaToya M. Hobbs (American, born 1983). Stargazer (Theo), 2022. Woodcut. Image: 24 x 28 inches; sheet: 27 x 20 inches. LaToya M. Hobbs (American, born 1983). Black Women of Print Founding Member Delita Martin, 2022. Acrylic and collaged paper on carved wood panel. 36 x 24 in. LaToya M. Hobbs (American, born 1983). Mrs. Burroughs, from the portfolio Black Women of Print, 2019. Woodcut. 15 x 11 inches. LaToya M. Hobbs (American, born 1983). Birth of a Mother, 2019. Acrylic, collage, and relief carving on wood panel. 48 x 72 inches. Swoon (Caledonia Curry; American, born 1977). Installation at the IFPDA Print Fair, 2019. LaToya M. Hobbs (American, born 1983). Genette's Daughters, 2022. Relief carved wood panel. 48 x 96 inches. USEFUL LINKS https://www.latoyamhobbs.com/ https://www.instagram.com/latoyahobbs/ Video by Ariston Jacks: https://www.youtube.com/watch?v=7RCxjicLItE Video of Big Ink printing Carving Out Time: https://www.youtube.com/watch?v=Qt-qK803jI8 Link to Big Ink: https://www.bigink.org/

In s3e10, Platemark hosts Ann Shafer and Ben Levy talk with Julia Samuels, master printer and owner of Overpass Projects, Pawtucket, RI. Ann and Ben were thrilled to visit Overpass in person for the recording of this episode. It's so great to see what guests are talking about and to be able to take photographs of the space, artists, and prints. Julia creates her own work primarily in black-and-white linoleum cuts, but is, in fact, a natural colorist—it comes easily to her. She is on a mission to economize colors for artists she works with, and she often creates palettes for them to plan their projects from. She has created such palettes for artists working in both screenprint and etching—two very different techniques requiring different approaches to layering colors. Sounds complicated, and, for me, it is. See if you agree. Ben Levy, Julia Samuels, and Ann Shafer at Overpass Projects, August 2022. Overpass Projects, Pawtucket, RI. Julia Samuels with screenprinted color palettes. Andrew Raftery (American, born 1962). Autobiography of a Garden on Twelve Engraved Plates, 2009–2016. Set of twelve earthenware dinner plates with transferred engravings (recto and verso). Each plate: 12 1/2 × 12 1/2 in. (31.8 × 31.8 cm.). Courtesy Mary Ryan Gallery, New York. Julia Samuels shows the color palette she designed to help the artist with his project. Michael Menchaca (American, born 1985). LA RAZA COSMICA 20XX, 2021. A suite of 16 screenprints. Sheet (each): 21 x 22 ½ inches. Printed by Julia Samuels at Overpass Projects. Michael Menchaca (American, born 1985). LA RAZA COSMICA 20XX, 2021. A suite of 16 screenprints. Sheet (each): 21 x 22 ½ inches. Printed by Julia Samuels at Overpass Projects. Venn diagrams created for Eric Diehl. Three plates, three inks, myriad colors, by Julia Samuels at Overpass Projects. Three-plate etching by Julia Samuels at Overpass Projects. Color gradations in etching by Julia Samuels at Overpass Projects. Eric Diehl (American, born 1984). Resting Snake, Suburbia, 2017. Three color etching with line etching and aquatint. Plate: 17 7/8 x 15 7/8 inches; sheet: 22 x 19 inches. Printed by Julia Samuels at Overpass Projects. Color gradients in etching by Julia Samuels at Overpass Projects. Julia Samuels (American, born 1985). Carpenter and Dean Streets, 2017. Linoleum cut. Image: 12 1/4 x 16 1/8 inches; sheet: 16 x 12 inches. Printed and published by the artist at Overpass Projects. USEFUL LINKS Overpass Projects' website Overpass Projects' Instagram

In s3e9 of Platemark, host Ann Shafer talks with James Siena and Katia Santibañez. Both artists, who are married to each other, are painters and printmakers who split their time between New York City and Otis, MA. In the past few years, they have collaborated on four reduction woodcuts with Shore Publishing. An exhibition of the full sets of working proofs for these collaborations were recently on view at Shore Publishing's sister gallery, Cheymore Gallery. Their work complements each other's and their collaboration with May Shore is truly wonderful. Find out how they met and how much they love working with master printers like Shore, Felix Harlan, Theo Lotz, and Phil Sanders. Episode image: May Shore James Siena (American, born 1957), published by Wassaic Project. Untitled, 2016. Screenprint. Sheet: 20 x 28 inches. Harold Edgerton (American, 1903–1990). Milk-Drop Coronet Splash, 1936. Gelatin silver print. 17 15/16 x 14 5/16 inches. San Francisco Museum of Modern Art, San Francisco. James Siena (American, born 1957), published by Polígrafa Obra Gráfica. Flextes ortogonals decreixents, 2011. Etching, aquatint, and spit-bite. Sheet: 35 x 31 cm. James Siena (American, born 1957), published by Pace Editions. Battery, 2002. Reduction linoleum cut. Sheet: 21 ¼ x 18 5/8 inches; image: 14 ¾ x 12 5/8 inches. James Siena (American, born 1957), published by Pegasus Press. Enderlock, 2020. Screenprint. Sheet: 18 ¾ x 22 ½ inches. Katia Santibañez (American, born France, 1964), published by Polígrafa Obra Gráfica. El viaje de mis sueños, 2013. Etching and aquatint. Sheet: 35 x 30 cm. Katia Santibañez (American, born France, 1964), published by Anthony Kirk Editions. Can You Turn Around?, 2102. Etching. Plate: 14 x 11 inches. Katia Santibañez (American, born France, 1964), published by Harlan and Weaver. A Secret Place, 2021. Etching. Sheet: 23 x 26 inches. James Siena (American, born 1957). Dyscopioid, 2022. Ink and graphite on paper. 11 x 8 1/2 inches (27.9 x 21.6 cm.), Miles McEnery Gallery, New York. James Siena (American, born 1957). Infolded Ridgeling, 2020. Charcoal and acrylic on linen. 36 1/2 x 48 inches (92.7 x 121.9 cm.). Miles McEnery Gallery, New York. James Siena (American, born 1957), published by Xippas Gallery, printed by Atelier Michael Woolworth. Saccase, 2020. Lithograph on vellum. 5 x 7 inches. These prints were given to clients of Xippas Gallery, Paris, celebrating its 30th anniversary, tucked inside a New Year's card. James Siena (American, born 1957). Viridiasaan, 2020. Watercolor and graphite on paper. 13 1/2 x 17 1/4 inches (34.3 x 43.8 cm.). Miles McEnery Gallery, New York. James Siena (American, born 1957). Resselgenator, 2019. Acrylic and graphite on linen. 75 x 59 inches (190.5 x 149.9 cm.). Miles McEnery Gallery, New York. Katia Santibañez (American, born France, 1964). Everywhere and Nowhere, 2019. Acrylic on canvas. 82 x 79 inches. D.C. Moore Gallery, New York. Katia Santibañez (American, born France, 1964). The Delight of Solitude, 2020. Acrylic on canvas. 30 x 27.5 inches. D.C. Moore Gallery, New York. Katia Santibañez (American, born France, 1964). And Yet, 2020. Ink on paper. 30 x 22 inches. D.C. Moore Gallery, New York. Katia Santibañez (American, born France, 1964). Floating In My Mind, 2015. Reduction linoleum cut in 6 colors on Hosho. Image: 14 x 11 inches; sheet: 19 1/2 x 16 inches. Shore Publishing, Tuxedo Park, NY. Katia Santibañez (American, born France, 1964). Sailing Alone, 2014. Reduction linoleum cut in 6 colors on Rives BFK. Image: 20 x 16; sheet: 27 x 22 inches. Shore Publishing, Tuxedo Park, NY. Katia Santibañez and James Siena working on reduction woodcuts at Shore Publishing, Tuxedo Park, NY. James Siena (American, born 1957) and Katia Santibañez (American, born France, 1964). Jawbreaker Sixplay, 2018. Reduction woodcut in 7 colors. Image: 16 x 12 inches; sheet: 23 1/2 x 19 inches. Shore Publishing, Tuxedo Park, NY. James Siena (American, born 1957) and Katia Santibañez (American, born France, 1964). Fourhand Choker, 2018. Reduction woodcut in 7 colors. Image: 16 x 12 inches; sheet: 23 1/2 x 19 inches. Shore Publishing, Tuxedo Park, NY. James Siena (American, born 1957) and Katia Santibañez (American, born France, 1964). Bonkbell Puller, 2022. Reduction woodcut in 7 colors on Rives BFK paper. Image: 22 1/2 x 18 inches; sheet: 28 3/4 x 23 1/2 inches. Shore Publishing, Tuxedo Park, NY. James Siena (American, born 1957) and Katia Santibañez (American, born France, 1964). Bonkbell Puller, 2022. Complete sets of states and progressive proofs from the collaborative reduction woodcut. Each sheet 28 3/4 x 23 1/2 inches. Published by Cheymore Gallery, Tuxedo Park, NY. James Siena (American, born 1957) and Katia Santibañez (American, born France, 1964). Triplebarb Whirler, 2022. Reduction woodcut in 6 colors on Rives BFK paper. Image: 22 1/2 x 18 inches; sheet: 28 3/4 x 23 1/2 inches. Shore Publishing, Tuxedo Park, NY. James Siena (American, born 1957) and Katia Santibañez (Ame

In s3e8, Platemark host Ann Shafer talks with Dave Cloutier who recently opened Center Arts and Studios (CAS) in the Mill Centre, Baltimore. CAS offers classes, equipment, critiques, guidance, and studio spaces to second-career artists. A passion project for Dave, it has long been his goal to encourage artists and their meaningful work to find each other. His belief in letting the work that needs to be made be made means giving over one's conscious self and embracing that mysterious place inside all of us, our subconscious. It takes maturity, patience, and generosity to get to that place, but Dave is intent on helping second-career artists find their voice. It's an exciting development in the artistic landscape of Baltimore and one that will no doubt appeal to many. This episode introduces Dave and the program to the world and offers an invitation to come see what CAS is all about. Dave welcomes visitors and loves talking about art, inspiration, and listening intently to one's mind. Find out why Ann called him a unicorn. Dave has been a faculty member at the Maryland Institute College of Art for sixteen years. He earned his MFA from the LeRoy E. Hoffberger School of Painting in 2005, and his BFA in painting and art therapy from the University of The Arts in Philadelphia in 1991. Prior to his role at MICA, Dave taught in community arts throughout Baltimore for Clayworks and Towson University's Community Arts program. Dave has worked with teens, adults, and older adults in psychiatric settings as an activities therapist and in direct patient care, continuing this work as a certified nursing assistant in nursing facilities specializing in caring for residents with Alzheimer's and dementia. It is with all this experience that Dave will guide you along a path toward self-actualization. Episode image of Dave Cloutier by Elizabeth English. Cy Twombly (American, 1928–2011) gallery at the Philadelphia Museum of Art. Installation view of Philip Guston: The Last Lithographs, at Timothy Taylor gallery, New York, 2018. Philip Guston's 25 lithographs created by the artist and published by Gemini G.E.L. in 1980, the year of the artist's death. Fra Angelico (Italian, 1395–1455). Annunciation, 1440–42. Fresco. 176 x 148 cm. Basilica di San Marco, Florence, Italy. Paula Rego (Portuguese, 1935–2022). Triptych, 1998. Pastel on paper on aluminum. Each: 100 x 110 cm. (39 3/8 x 43 1/4 in.). Abbot Hall Art Gallery, Lakeland Arts, Kendal, UK. Paula Rego (Portuguese, 1935–2022). Young Predators, 1987, from the portfolio Artists' Choice published by the Royal College of Art, London. Etching and aquatint. 12 x 12 inches (305 x 305mm.). 1st Dibs. Jaune Quick-to-See Smith (Enrolled Salish, Confederated Salish and Kootenai Nation, MT, born 1940), published by Washington University School of Art Collaborative Print Workshop. Celebrate 40,000 Years of American Art, 1995. Collagraph. 78 1/8 x 53 3/8 in. (198.4 x 135.6 cm.). Saint Louis Art Museum, St. Louis. Joann Moser. Singular Impressions: The Monotype in America. Washington, DC: Smithsonian American Art Museum, 1997. Dave Cloutier (American, born 1961). Adam and Eve, 2019. Monotype on machined mulberry paper and oil paint on Arches watercolor paper. 72 x 108 inches. Dave Cloutier (American, born 1961). Eves Burning, 2020. Monotype on machined mulberry paper and oil paint on Arches watercolor paper. 124 x 120 inches. Dave Cloutier (American, born 1961). Killed Man and Drone, 2019. Monotype on machined mulberry paper and oil paint on Arches watercolor paper. 74 x 118 inches. Dave Cloutier (American, born 1961). Trench, 2020. Monotype on machined mulberry paper and oil paint on Arches watercolor paper. 80 x 115 inches. USEFUL LINKS https://www.centerartsandstudios.com/ https://www.baltimorejewelrycenter.org/ Tate Britain videos on Paula Rego: https://www.youtube.com/watch?v=U1YtnAxJU_s https://www.youtube.com/watch?v=vDZGh1O72uQ https://www.youtube.com/watch?v=LAZimVk7lGY https://www.youtube.com/watch?v=VSGpNiIWmUs

In s3e7, hosts Ann Shafer and Tru Ludwig sit down with Elizabeth Wyckoff, Curator of Prints and Drawings at the Saint Louis Art Museum, to talk about the exhibition Catching the Moment: Contemporary Art from the Ted L. and Maryanne Ellison Simmons Collection, which ran June 26–September 11, 2022. The Simmons collection provides an opportunity to take a deep dive into three artists they collected in depth: Kiki Smith, Enrique Chagoya, and Tom Huck. Other artists in the exhibition include Jaune Quick-to-See Smith, Bruce Nauman, Michael Barnes, H.C. Westermann, Tony Fitzpatrick, and Kara Walker. The major through line is works that critique a broad range of social, political, and art historical concepts. There's lots to chew on in this show, but we're also there to talk to Elizabeth about her career as a curator of works on paper. Elizabeth, like so many curators of prints and drawings, is responsible for works of art on paper from the 15th century through tomorrow, even though her dissertation focused on Dutch print publisher Jan Pietersz Berendrecht, who was active in Haarlem in the 1620s. Hear about living in Amsterdam while researching Berendrecht, working with the Simmonses, and what her (fictitious) retirement gift will be. Episode image of Elizabeth Wyckoff: Courtesy of the Saint Louis Art Museum. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print, 1648. Etching, drypoint, and engraving. Plate: 10 15/16 x 15 7/16 in. (27.8 x 39.2 cm.); sheet: 11 1/8 x 15 5/8 in. (28.2 x 39.7 cm.). Saint Louis Art Museum, St. Louis. Rembrandt (Dutch, 1606–1669). Christ Presented to the People: Ecce Homo (state ii/viii), 1655. Drypoint. Plate: 15 1/8 x 17 5/8 in. (384 x 448 mm.); sheet: 15 3/8 x 17 7/8 in. (391 x 454 mm.). Saint Louis Art Museum, St. Louis. Rembrandt van Rijn (Dutch, 1606–1669). Abraham's Sacrifice (only state), 1655. Etching and drypoint on vellum. Sheet (trimmed to platemark): 5 14/16 x 5 in. (15.1 x 12.7 cm.). Saint Louis Art Museum, St. Louis. Hans Burgkmair the Elder (German, 1473–1531). Lovers Surprised by Death, 1510. Chiaroscuro woodcut. image: 8 3/8 in. x 6 in. (21.3 x 15.2 cm.); sheet (trimmed): 8 3/8 x 6 in. (21.3 x 15.2 cm.). Saint Louis Art Museum, St. Louis. Williams Ivins, Jr. Prints and Visual Communication. Cambridge, MIT Press, 1969. Albrecht Dürer (German, 1471–1528). Triumphal Arch of Maximilian I, 1515. Woodcut, 195 woodblocks printed on 36 sheets of large folio paper. 354 x 298.5 cm (139 3/8 x 117 1/2 in.). Metropolitan Museum of Art, New York. Kiki Smith (American, born 1954), published by Artes Magnus. Finger Bowl, 1995. Sterling silver. 16 ½ x 16 x 16 in (16.5 x 40.6 x 40.6 cm.). Saint Louis Art Museum, St. Louis. Installation view of Kiki Smith (American, born 1954) works in Catching the Moment, Saint Louis Art Museum, 2022. Installation view of Tom Huck (American, born 1971), published by Evil Prints. Snacktime Marcy, 1999. Blocks and prints in Catching the Moment, Saint Louis Art Museum, 2022. Jaune Quick-to-See Smith (Enrolled Salish, Confederated Salish and Kootenai Nation, MT, born 1940), published by Washington University School of Art Collaborative Print Workshop. Celebrate 40,000 Years of American Art, 1995. Collagraph. 78 1/8 x 53 3/8 in. (198.4 x 135.6 cm.). Saint Louis Art Museum, St. Louis. Bruce Nauman (American, born 1941), published by Gemini G.E.L. Pay Attention, 1973. Lithograph. 38 3/8 x 28 5/16 in. (97.5 x 71.9 cm.). Saint Louis Art Museum, St. Louis. Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York. Enrique Chagoya (American, born Mexico, born 1953), published by Des Moines Art Center Print Club. Liberty Backwards, 2008. Photoetching and rubber stamp. 12 5/8 x 9 ½ in. (32.1 x 24.1 cm.). Saint Louis Art Museum, St. Louis. Enrique Chagoya (American, born Mexico, born 1953), published by Smith Anderson Editions. Liberty, 2006. Monotype. 34 5/8 x 47 7/8 in. (87.9 x 47.7/8 cm.). Saint Louis Art Museum, St. Louis. USEFUL LINKS Saint Louis Art Museum Print and Drawing Room link: https://www.slam.org/research/print-study-room/ Saint Louis Art Museum exhibition page: https://www.slam.org/exhibitions/catching-the-moment/

In s3e6, Platemark host Ann Shafer talks with Bill Hall, master printer (retired) at Pace Prints for nearly thirty years. His earliest years in New York were spent working at the legendary Robert Blackburn Printmaking Workshop. After his arrival at Pace Prints, his intaglio skills were honed under the tutelage of Aldo Crommelynck, the legendary printer of many of Picasso's late prints. At Pace, he was in charge of the intaglio area bringing those talents to bear on prints by legendary artists like Jim Dine, Helen Frankenthaler, Chuck Close, Robert Mangold, and Tara Donovan. Bill is a soft-spoken, southern gentleman and an artist in his own right. Now retired from Pace, Bill and his wife, Sara, live in Asheville, NC. His work is represented by Momentum Gallery in Asheville. Robert Blackburn, 1987 (photo by Peter Bellamy). Marjorie Van Dyke and artist Richard Giglio at VanDeb Editions, 2021. Robert Blackburn (American, 1920–2003). Heavy Forms (Pink Version), 1958. Color crayon and brush and tusche lithograph. Sheet: 565 x 483 mm. (22 1/4 x 19 in.); image: 498 x 400 mm. (19 5/8 x 15 3/4 in.). Baltimore Museum of Art, Baltimore, MD. Robert Blackburn (American, 1920–2003). Heavy Forms (Brown Version), 1961. Color crayon and brush and tusche lithograph. Sheet: 489 x 562 mm. (19 1/4 x 22 1/8 in.); image: 403 x 498 mm. (15 7/8 x 19 5/8 in.). Baltimore Museum of Art, Baltimore, MD. Robert Blackburn (American, 1920–2003). Woodscape, 1984. Color woodcut. Sheet: 486 x 613 mm. (19 1/8 x 24 1/8 in.); image: 305 x 384 mm. (12 x 15 1/8 in.). Baltimore Museum of Art, Baltimore, MD. Printer Joe Wilfer at John Chamberlain's studio in Sarasota, FL, 1990 (photo by Bill Hall). Jim Dine (American, born 1935). Published by Pace Editions. Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Left–right: Aldo Crommelynck, Bill Hall, Pep Crommelynck, Ruth Lingen, Julia D'Amario, and Clemins Buntig. Jim Dine (American, born 1935). Published by Pace Editions. The Five Hammer Études, 2007. Etching, drypoint, aquatint, and power tools on five joined sheets of paper. Sheet: 751 x 2564 mm. (29 9/16 x 100 15/16 in.); plate: 593 x 2420 mm. (23 3/8 x 95 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Bill Hall pulls out a Jim Dine matrix at Pace Prints, 2008 (photo by Ann Shafer). Tara Donovan (American, born 1969). Published by Pace Editions. Untitled, 2006. Relief print from rubber band matrix. Image: 36 3/4 x 25 in. (93.3 x 63.5 cm.); sheet: 38 1/2 x 25 1/2 in. (97.8 x 64.8 cm.). Krakow Witkin Gallery, Boston, MA. Bill Hall pulls out a Tara Donovan matrix at Pace Prints, 2008 (photo by Ann Shafer). Tara Donovan (American, born 1969). Published by Pace Editions. Untitled, 2004. Etching from bubbles. Plate: 12 x 12 in.; sheet: 14 x 14 in. Greg Kucera Gallery, Seattle, WA. Tara Donovan (American, born 1969). Published by Pace Editions. Untitled, 2006. Relief print from rubber band matrix. Sheet: 978 × 660 mm. (38 1/2 × 26 in.); image: 927 × 629 mm. (36 1/2 × 24 3/4 in.). Baltimore Museum of Art, Baltimore, MD. Chuck Close (American, 1940–2021). Published by Pace Editions. Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Printer Yasu Shibata at Pace Prints. Chuck Close (American, 1940–2021). Published by Pace Editions. Self Portrait/Scribble/Etching, 2000. Color softground etching. Sheet: 18 3/10 × 15 1/5 in. (46.4 × 38.7 cm.). Arturo Herrera (Venezuelan, born 1959). Richard, 2012. Published by Pace Editions. Collage with elements of relief, etching, digital, collograph, pochoir, and screenprint on felt. 141.8 x 121.4 cm. Chuck Close (American, 1940–2021). Published by Pace Editions. Self Portrait/Pulp/Pochoir, 2000. Paper pulp and pochoir. Sheet: 25 3/16 x 19 5/16 in. (64 x 49 cm.). Museum of Modern Art, New York. Chuck Close (American, 1940–2021). Published by Pace Editions. Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. [DETAIL] Chuck Close (American, 1940–2021). Published by Pace Editions. Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Printers Bill Hall and Julia D'Amario working on a Chuck Close spitbite etching at Pace Prints. Artist Chuck Close working at Pace Prints. | James Turrell (American, born 1943). Published by Pace Editions. Suite from Aten Reign, 2014. Set of three aquatints. Sheet (each): 34 ¾ x 22 in. Ghada Amer and Reza Farkhondeh (Egyptian, born 1963; Iranian, born 1963). Published by Pace Editions. Waiting for Tarzan, 2008. Woodcut and linoleum cut with silk tissue papers (unique). Sheet: 37 x 49 in.; image: 36 x 48 in. Helen Frankenthaler (American, 1928–2011). Published by Pace Editions. Book of Clouds, 2007. Aquatint etching, woodcut, and pochoir with hand coloring. Sheet: 35 5/8 x 68 1/4 in. Robert Mangold (American, born 1937). Published by Pace Editions. Plane/Figure Series, Folded

In s3e5, Ann Shafer talks with fellow podcaster and print lover Miranda Metcalf, whose show, Hello, Print Friend, is the internet's most popular podcast about prints and printmaking. Hello, Print Friend's Instagram account has over 53K followers! Both Shafer and Metcalf are self-described print evangelists and have much to discuss. Listen in as two print nerds geek out about all things print related and more. Albrecht Dürer (German, 1471–1528). Rhinoceros, 1515. Woodcut. 233 x 292 mm. (9 3/16 x 11 1/2 in.). Metropolitan Museum of Art, New York. USEFUL LINKS Hello, Print Friend's Instagram Hello, Print Friend's YouTube channel Hello, Print Friend's Patreon page Hello, Print Friend's merch page

Platemark's series three offers its first interview with an artist, Tom Hück. And what a great place to start. In s3e4, Platemark hosts Ben Levy and Ann Shafer sit down with Hück whose large-scale, multi-panel woodcuts skewer rural life in the American Midwest in all its unabashed weirdness and glory. They talk about Motörhead, Iron Maiden, Albrecht Dürer's Rhinoceros, and the rest of Hück's heroes. And, the artist explains why his Midwestern surname carries a German umlaut. Ya gotta love an artist who loves Old Master prints. Episode image: Hück by Hück Albrecht Dürer (German, 1471–1528). Rhinoceros, 1515. Woodcut. 23.3 x 29.2 cm (9 3/16 x 11 1/2 in). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Triumphal Arch of Maximilian I, 1515. Woodcut, 195 woodblocks printed on 36 sheets of large folio paper. Overall size: 354 x 298.5 cm (139 3/8 x 117 1/2 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 39.3 x 28.5 cm (15 1/2 x 11 1/4 in). Baltimore Museum of Art, Baltimore. Martin Schongauer (German, c. 1435/50–1491). Saint Anthony Tormented by Demons, c. 1470–75. Engraving. Sheet: 30 x 21.8 cm (11 13/16 x 8 9/16 in). Metropolitan Museum of Art, New York. Mark Wilkinson (English, born 1952). Eddie appears as a samurai on the cover art for Iron Maiden's 17th album, Senjutsu, 2021. Bill Fick (American, born 1963). Ooze Head, 2000. Linoleum cut. Image: 23 x 19 in. Tom Hück (American, born 1971). The Tommy Peeperz (center panel), 2014. Woodcut. Sheet: 50 x 62 in. Dennis McNett (American, born 1972). Winter Queen, 2014. Woodcarving and acrylic. 18 x 24 in. Sue Coe (American, born 1951). It Can Happen Here (Trump), 2016. Linoleum cut. 10 x 8 in. Honoré Daumier (French, 1808–1879). Rue Transnonain, le 15 Avril, 1834, Plate 24 of l'Association mensuelle, 1834. Lithograph. Image: 11 1/4 x 17 3/8 in. (286 x 441 mm.); sheet: 14 5/16 x 21 11/16 in. (364 x 551 mm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Chorus of Singers, or The Oratorio, 1732. Etching. Sheet: 6 13/16 x 6 7/16 in. (173 x 163 mm.). Metropolitan Museum of Art, New York. USEFUL LINKS Tom Hück is represented by C.G. Boerner Gallery: http://cgboerner.com/artists/tom-huck/ Hück's website: http://www.evilprints.com/ Hück's Instagram: https://www.instagram.com/evilprints/?hl=en Hück's Facebook: https://www.facebook.com/theevilhead Link for Saint Louis Art Museum exhibition, Catching the Moment: https://www.slam.org/exhibitions/catching-the-moment/

In s3e3, Ann Shafer and Ben Levy talk with James Wehn, Van Vleck Curator of Prints, Drawings, and Photographs at the Chazen Museum of Art at the University of Wisconsin, Madison, about prints, museums, curatorial work, and Israel van Meckenem. Episode photo: Eric Baillies Israhel van Meckenem (German, c. 1445–1503). The Angry Wife, c. 1495/1503. Engraving. Sheet (trimmed to plate mark): 16.7 x 11.1 cm. (6 9/16 x 4 3/8 in.). National Gallery of Art, Washington, D.C.

In s3e2, Ann Shafer and Ben Levy sit down with the three master printers at Tandem Press: Joe Freye, Jason Ruhl, and Patrick Smyczek. Find out what makes a dream team in a print shop.

In this first episode of series 3 (interviews with luminaries of the print ecosystem), Ann Shafer and Ben Levy sit down with Paula Panczenko, executive director of Tandem Press, and Russell Panczenko, retired director of the Chazen Museum of Art. Both entities are affiliated with the University of Wisconsin, Madison.

In s2e20, Ann Shafer and Tru Ludwig conclude their discussion of Rembrandt van Rijn, the man who made etching was it is today. In this third of three episodes on Rembrandt, they tackle his etchings of religious scenes. Rembrandt made a lot of them and they are intense. They are special because Rembrandt humanizes the people in them, which really hadn't happened before. It's almost as if viewers can find themselves in the scenes. Biblical stories are brought to life under Rembrandt sure hand. Rembrandt (Dutch, 1606–1669). Christ Before Pilate (the large plate), 1636. Etching. Sheet (trimmed to platemark): 21 3/4 x 17 5/8 in. (553 x 448 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Adam and Eve, 1638. Etching. Sheet (trimmed to platemark): 6 7/16 x 4 5/8 in. (16.3 x 11.7 cm.). Minneapolis Institute of Arts, Minneapolis. Rembrandt (Dutch, 1606–1669). Presentation in the Temple, c. 1640. Etching and drypoint. Sheet: 218 × 296 mm. (8 9/16 × 11 5/8 in.); plate: 213 × 290 mm. (8 3/8 × 11 7/16 in.). Baltimore Museum of Art, Baltimore. [DETAIL] Rembrandt (Dutch, 1606–1669). Presentation in the Temple, c. 1640. Etching and drypoint. Sheet: 218 × 296 mm. (8 9/16 × 11 5/8 in.); plate: 213 × 290 mm. (8 3/8 × 11 7/16 in.). Baltimore Museum of Art, Baltimore. Rembrandt (Dutch, 1606–1669). Death of the Virgin, 1639. Etching and drypoint. Sheet: 413 × 317 mm. (16 1/4 × 12 1/2 in.); plate: 409 × 315 mm. (16 1/8 × 12 3/8 in.). Baltimore Museum of Art, Baltimore. Rembrandt (Dutch, 1606–1669). Sheet of Studies with a Woman Lying Ill in Bed, c. 1641/42. Etching. Sheet (trimmed to platemark): 139 x 152 mm. Metropolitan Museum of Art, New York. Martin Schongauer (German, 1435/50–1491). Death of the Virgin, c. 1455-91. Engraving. Sheet (trimmed to platemark): 10 1/16 × 6 5/8 in. (25.5 × 16.8 cm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). St. Jerome in a Dark Chamber, 1642. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 6 × 6 15/16 in. (15.3 × 17.6 cm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). St. Jerome in a Dark Chamber, 1642. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 5 7/8 x 6 ¾ in. (15.1 × 17.3 cm.). Sotheby's, London. Rembrandt (Dutch, 1606–1669). St. Jerome in a Dark Chamber, 1642. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 5 7/8 x 6 7/8 in. (15.1 × 17.5 cm.). Baltimore Museum of Art, Baltimore. Rembrandt (Dutch, 1606–1669). St. Jerome in a Dark Chamber, 1642. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 5 7/8 x 6 3/4 in. (15.1 × 17.3 cm.). Bonham's New York. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam. Rembrandt (Dutch, 1606–1669). Abraham Caressing Isaac, c. 1637. Etching and drypoint. 116 x 89 mm. Victoria and Albert Museum, London. Rembrandt (Dutch, 1606–1669). Abraham and Isaac, c. 1645. Etching and engraving. 155 x 128 mm. Victoria and Albert Museum, London. Rembrandt (Dutch, 1606–1669). Abraham's Sacrifice, 1655. Etching and drypoint. Sheet (trimmed to platemark): 6 5/16 × 5 1/4 in. (161 × 134 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Christ Presented to the People: Ecce Homo (state ii/viii), 1655. Drypoint. Plate: 15 1/8 x 17 5/8 in. (384 x 448 mm.); sheet: 15 3/8 x 17 7/8 in. (391 x 454 mm.). St. Louis Art Museum, St. Louis. Rembrandt (Dutch, 1606–1669). Christ Presented to the People: Ecce Homo (state iv/viii), 1655. Drypoint. Sheet (trimmed to platemark): 14 5/16 x 17 7/8 in. (364 x 454 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Christ Presented to the People: Ecce Homo (state viii/viii), 1655. Drypoint. Sheet (trimmed to platemark): 14 x 17 15/16 in. (356 x 455 mm.). Metropolitan Museum of Art, New York. Lucas van Leyden (Netherlandish, c. 1494–1533). Ecce Homo, 1510. Engraving. Sheet: 11 3/8 x 17 15/16 in. (289 x 456 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (i/iv state), 1653. Drypoint on vellum. Plate: 15 x 17 1/4 in. (381 x 438 mm.); sheet: 15 1/8 x 17 7/16 in. (384 x 443 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (iv/iv state), c. 1660. Drypoint. Sheet (trimmed to platemark): 15 1/16 x 17 1/2 in. (382 x 444 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (iii/iv state), c. 1660. Drypoint. Sheet: 15 5/16 × 17 15/16 in. (389 × 456 mm.); plate: 15 3/16 × 17 7/8 in. (385 × 454 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (iv/iv state), c. 1660. Drypoint. Sheet (trimmed to platemark): 385 x 451 mm. Bri

In s2e19, Ann Shafer and Tru Ludwig continue talking about the best etcher ever, Rembrandt van Rijn. In this second of three episodes on Rembrandt, they tackle genre scenes (those would be scenes of everyday life) and portraits. Rembrandt is the consummate storyteller and in these etchings he gives us regular, everyday people like print dealers, cooks, beggars, and even rat catchers. His etchings are brimming with life. Remember, Rembrandt lives in Amsterdam, which is part of Holland, a country that had recently gained independence from Catholic Spain. These subjects are new territory for us. In addition, Ann talks about a second female artist: Geertruydt Roghman. Episode image: Rembrandt (Dutch, 1606–1669). Beggars Receiving Alms at the Door of a House, 1648. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 6 5/8 × 4 1/2 in. (16.8 × 11.5 cm.). Metropolitan Museum of Art, New York. Adriaen van Ostade (Dutch, 1610–1685). The Family, 1647. Etching. Plate: 7 1/16 × 6 1/4 in. (18 × 15.9 cm.); sheet: 7 1/2 × 6 9/16 in. (19 × 16.7 cm.). Metropolitan Museum of Art, New York. Jan van de Velde II (Dutch, c. 1593–1641), after Willem Buytewech (Dutch, 1591–1624). The Pancake Woman, c. 1626. Engraving. 185 x 129 mm. British Museum, London. Rembrandt (Dutch, 1606–1669). The Pancake Woman, 1635. Etching. Sheet (trimmed to platemark): 11.4 x 8.3 cm. (4 3/8 x 3 ¼ in.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). The Rat Catcher, 1632. Etching. 140 x 125 mm. The Morgan Library & Museum, New York. Rembrandt (Dutch, 1606–1669). Beggars Receiving Alms at the Door of a House, 1648. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 6 5/8 × 4 1/2 in. (16.8 × 11.5 cm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Death Appearing to a Wedded Couple from an Open Grave, 1639. Etching. Plate: 10.9 x 7.9 cm (4 5/16 x 3 1/8 in.); sheet: 11 x 8.1 cm (4 5/16 x 3 3/16 in.). National Gallery of Art, Washington, D.C. Rembrandt (Dutch, 1606–1669). A Woman Making Water, 1631. Etching. Sheet (trimmed to platemark): 79 x 63 mm. Rijksmuseum, Amsterdam. Rembrandt (Dutch, 1606–1669). A Man Making Water, 1631. Etching. Sheet (trimmed to platemark): 82 x 48 mm. The British Museum, London. Rembrandt (Dutch, 1606–1669). The Monk in the Cornfield, c. 1646. Etching and drypoint. Sheet (trimmed to platemark): 47 x 66 mm. The Morgan Library & Museum, New York. Geertruydt Roghman (Dutch, 1625–1657). Kerck tot Sloten (Church at Sloten), plate 8 from the series Plaisante Lantschappen...na t'Leven geteekent door Roelant Roghman... (Pleasant Landscapes...after Roelant Roghman...). Engraving. Sheet (trimmed to platemark): 130 x 222 mm. Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco. Geertruydt Roghman (Dutch, 1625–1657) after Aegidius Sadeler (Flemish, 1570–1629) after Jacopo Tintoretto (Italian, 1518–1594). Massacre of the Innocents, 1630–52. Engraving. Sheet: 395 × 496 mm. Rijksmuseum, Amsterdam. Geertruydt Roghman (Dutch, 1625–1657) after Paulus Moreelse (Netherlandish, 1571–1638). Portrait of Roelant Savery, 1647. Engraving. Sheet: 267 × 162 mm. Rijksmuseum, Amsterdam. Geertruydt Roghman (Dutch, 1625–1657). A Woman Spinning, 1648–50. Engraving. Plate: 213 × 171mm. Rijksmuseum, Amsterdam. Geertruydt Roghman (Dutch, 1625–1657). A Woman Cooking, 1648–50. Engraving. Plate: 213 × 171mm. Rijksmuseum, Amsterdam. Geertruydt Roghman (Dutch, 1625–1657). A Woman Cleaning, 1648–50. Engraving. Plate: 213 × 171mm. Rijksmuseum, Amsterdam. Geertruydt Roghman (Dutch, 1625–1657). A Young Woman Ruffling, 1648–50. Engraving. Plate: 213 × 171mm. Rijksmuseum, Amsterdam. Geertruydt Roghman (Dutch, 1625–1657). Two Women Sewing, 1648–50. Engraving. Plate: 213 × 171mm. Rijksmuseum, Amsterdam. Aegidius Sadeler II (Netherlandish, 1568–1629). After Jacopo Tintoretto (Jacopo Robusti) (Italian, 1518/19–1594). Massacre of the Innocents, c. 1600. Engraving. Sheet (trimmed within platemark): 392 x 493 mm (15 7/16 × 19 7/16 in). Metropolitan Museum of Art, New York. Jacopo Tintoretto (Jacopo Robusti) (Italian, 1518/19–1594). The Massacre of the Innocents, 1582–1587. Oil on canvas. 422 x 546 cm (13.8 x 17.9 feet). Scuola Grande di San Rocco, Venice. Rembrandt (Dutch, 1606–1669). The Night Watch, 1642. Oil on canvas. 437 x 363 cm. City of Amsterdam. Rembrandt (Dutch, 1606–1669). Self-Portrait Leaning on a Stone Sill, 1639. Etching, drypoint, and engraving. Plate: 7 7/8 x 6 5/16 in. (20 x 16 cm.); sheet: 8 5/16 x 6 5/8 in. (21.1 x 16.8 cm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Self-Portrait, Frowning, 1630. Etching. Plate: 7.3 × 6.1 cm (2 7/8 × 2 3/8 in.); sheet: 7.6 × 6.5 cm (3 × 2 9/16 in.). National Gallery of Art, Washington, D.C. Rembrandt (Dutch, 1606–1669). Self-Portrait Etching at a Window, 1648. Etching, drypoint, and engraving. Plate: 6 1/8 x 5 1/16 in. (15.5 x 12.9 cm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Self-Portrait

In Platemark e2e18, Tru Ludwig and Ann Shafer begin a three-parter about the master of etching, Rembrandt van Rijn. In this first episode on RvR, Tru sets the stage and takes us through some of Rembrandt's key landscape etchings, including the iconic The Three Trees. (The second episode looks at genre—scenes of everyday life—and portraiture; the third looks at religious imagery.) It's funny, but every landmark in the history of prints seems like a reaction against what came before it. Remember, we really haven't seen anyone take up etching with this much success so far. It's been engraving and woodcut until now with very few exceptions. Don't get me wrong, I love a good reproductive engraving (witness the last episode on Hendrick Goltzius). But the shift from those formulaic, highly structured images to the flowing and sketchy lines of Rembrandt is huge. And it sets the bar for and forever changes what we mean by autographic etching. Plus, remember how subject matter has shifted due to the Protestant Reformation, which called for a ban on idolatrous images. Yes, there are still religious images being made—the Catholic Church is still a major patron. But it's no wonder landscapes, genre scenes, portraits, and still lifes become a thing, especially in Protestant countries like the northern part of the Netherlands (which would become Holland), where Rembrandt lived his whole life. Episode image: Rembrandt (Dutch, 1606–1669). The Three Trees, 1643. Etching, engraving, and drypoint. Plate: 8 3/8 x 10 15/16 in. (21.3 x 27.8 cm.); sheet: 8 3/8 x 11 1/8 in. (21.3 x 28.3 cm.). Metropolitan Museum of Art, New York. Pieter Jansz. Saenredam (Dutch, 1597–1665). Interior of St. Bavo's, Haarlem, 1633. Oil on panel. 39.3 x 33.6 cm. Kelvingrove Art Gallery and Museum, Glasgow. Esaias van de Velde (Dutch, 1587–1630). Landscape with Gallows near Haarlem, 1610–30. Etching and engraving. Sheet: 3 3/8 x 6 13/16 in. (8.6 x 17.3 cm.). Metropolitan Museum of Art, New York. Jacob van Ruisdael (Dutch, c. 1629–1682). View of Haarlem with Bleaching Fields, c. 1670–75. Oil on canvas. 62.2 × 55.2 cm. (24 ½ × 21 5/8 in.). Kunsthaus Zurich, Zurich. Caravaggio, Conversion of Saint Paul, 1600–01. Oil on panel. 237 × 189 cm. (93 × 74 in.). Odescalchi Balbi Collection, Rome. Rembrandt (Dutch, 1606–1669). The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas. 216.5 × 169 ½ cm. (85 1/4 × 66 5/8 in.). Mauritshuis, The Hague. Rembrandt (Dutch, 1606–1669). The Raising of Lazarus, 1630–32. Oil on panel. 37 15/16 x 32 in. (96.36 x 81.28 cm.). Los Angeles County Museum of Art, Los Angeles. Peter Paul Rubens (Flemish, 1577–1640). The Descent from the Cross, 1612–14. Oil on panel. 420.5 × 320 cm. (165 1/2 × 130 in.). Cathedral of Our Lady, Antwerp. Lucas Vorsterman I (Flemish, 1595–1675), after Peter Paul Rubens (Flemish, 1577–1640). The Descent from the Cross, 1620. Engraving. 567 x 430 mm. Victoria and Albert Museum, London. Rembrandt (Dutch, 1606–1669). The Descent from the Cross, 1650/52. Oil on canvas. 142 x 110.9 cm (55 7/8 x 43 11/16 in.). National Gallery of Art, Washington, D.C. Rembrandt (Dutch, 1606–1669). The Descent from the Cross, 1633. Etching. Sheet: 20 9/16 x 15 1/16 in. (52.2 x 38.3 cm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). View of Amsterdam from the Northwest, c. 1640. Etching. Plate: 4 7/16 x 6 in. (11.2 x 15.2 cm.); sheet: 4 3/4 x 6 1/4 in. (12 x 15.8 cm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). The Windmill, 1641. Etching. Sheet: 5 7/8 x 8 5/16 in. (15 x 21.1 cm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). The Three Trees, 1643. Etching, engraving, and drypoint. Plate: 8 3/8 x 10 15/16 in. (21.3 x 27.8 cm.); sheet: 8 3/8 x 11 1/8 in. (21.3 x 28.3 cm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Six's Bridge, 1645. Etching. Plate: 13 x 22.4 cm. (5 1/8 x 8 13/16 in.); sheet: 13.9 x 23.6 cm. (5 1/2 x 9 5/16 in.). National Gallery of Art, Washington, D.C. Rembrandt (Dutch, 1606–1669). The Goldweigher's Field, 1651. Etching and drypoint. Sheet (trimmed to platemark): 121 x 320 mm. (4 ¾ x 12 ½ in.). British Museum, London. Rembrandt (Dutch, 1606–1669). The Shell, 1650. Etching. Plate: 97 × 132 mm.; sheet: 99 × 134 mm. Art Institute of Chicago, Chicago.

In s2ep17, Ann Shafer and Tru Ludwig talk about one of their favorite engravers of all time, Hendrick Goltzius. A Dutchman, Goltzius was preternaturally gifted with a burin and made glorious prints of all sorts. Ann's favorite is the Farnese Hercules, a large engraving showing two Dutchmen looking up at a giant sculpture of Hercules, which viewers see from behind. Quirky and wonderful, these prints are worth a deep dive. In s2ep17, Ann Shafer and Tru Ludwig talk about one of their favorite engravers of all time, Hendrick Goltzius. A Dutchman, Goltzius was preternaturally gifted with a burin and made glorious prints of all sorts. Ann's favorite is the Farnese Hercules, a large engraving showing two Dutchmen looking up at a giant sculpture of Hercules, which viewers see from behind. Quirky and wonderful, these prints are worth a deep dive. Episode image: Hendrick Goltzius (Dutch, 1558–1617). Farnese Hercules, 1617. Engraving. Sheet (trimmed to platemark): 16 9/16 x 11 15/16 in. (421 x 304 mm.). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). Goltzius' Right Hand, 1588. Pen and brown ink. 9 x 12 5/8 in. (230 x 322 mm.) Teylers Museum, Haarlem. Hendrick Goltzius (Dutch, 1558–1617). The Standard Bearer, Turned to Left, 1587. Engraving. sheet (trimmed to plate mark): 28.8 x 19.3 cm (11 5/16 x 7 5/8 in.). National Gallery of Art, Washington, D.C. Hendrick Goltzius (Dutch, 1558–1617), after Bartholomaeus Spranger (Netherlandish, 1546–1611). Judith with the Head of Holofernes, c. 1585. Engraving. Tondo: 6 11/16 in. Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617), after Cornelis van Haarlem (Netherlandish, 1562–1638). The Dragon Devouring the Companions of Cadmus, 1588. Engraving. Sheet (trimmed to platemark): 9 15/16 x 12 1/2 in. (252 x 318 mm.). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). The Great Hercules, 1589. Engraving. Sheet (trimmed to platemark): 21 7/8 x 15 7/8 in. (555 x 404 mm.). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Ixion, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 5/8 x 13 7/16 in. (34.6 x 34.1 cm). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Phaeton, from the series The Four Disgracers, 1588. Engraving. Sheet: 335 x 335 mm (13 3/16 x 13 3/16 in.). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Tantalus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 1/4 x 13 1/4 in. (33.6 x 33.6 cm). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). The Judgment of Midas, 1590. Engraving. Plate: 421 x 670 mm. (16 9/16 x 26 3/8 in.); sheet: 430 x 679 mm. (16 15/16 x 26 3/4 in.). Museum of Fine Arts, Boston. Marcantonio Raimondi (Italian, c. 1480–before 1534), after Raphael (Italian, 1483–1520). The Judgment of Paris, c. 1510–20. Engraving. Sheet (trimmed within platemark): 11 7/16 x 17 3/16 in. (291 x 437 mm.). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). Hercules Killing Cacus, 1588. Chiaroscuro woodcut. Sheet: 428 x 340 mm. (16 7/8 x 13 3/8 in.). Princeton University Art Museum, Princeton. Hendrick Goltzius (Dutch, 1558–1617). The Circumcision, from the series The Birth and Early Life of Christ, 1594. Engraving. Plate: 18 1/4 x 13 13/16 in. (464 x 351 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Circumcision, from the series The Life of the Virgin, c. 1504. Woodcut. Sheet: 17 3/16 x 11 15/16 in. (437 x 303 mm.); image: 11 11/16 x 8 1/8 in. (297 x 206 mm.). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). Farnese Hercules, 1617. Engraving. Sheet (trimmed to platemark): 16 9/16 x 11 15/16 in. (421 x 304 mm.). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). Pietà, 1596. Engraving. Sheet: 7 1/8 x 5 3/16 in. (181 x 131 mm.). Metropolitan Museum of Art, New York. James Siena (American, born 1957). No Man's Land, 2004. Engraving on chine collé. Sheet: 437 x 379 mm. (17 3/16 x 14 15/16 in.); plate: 280 x 222 mm. (11 x 8 ¾ in.). Baltimore Museum of Art, Baltimore. Hendrick Goltzius (Dutch, 1558–1617). Without Ceres and Bacchus, Venus Would Freeze, c. 1600–03. Ink and oil on canvas. 41 3/8 × 31 1/2 in. (105.1 × 80 cm.). Philadelphia Museum of Art, Philadelphia.

In s2ep16, Ann Shafer and Tru Ludwig talk about the Protestant Reformation and the Catholic Counter Reformation that affected so much of the 16th century in Western Europe. The focus of the episode is Pieter Brueghel the Elder who developed a new vocabulary to talk about the lives of peasants, as well as lessons to live by. And don't forget those sins and sinners. Episode image: Pieter van der Heyden (Netherlandish, c. 1525–1569), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Big Fish East Little Fish, 1557. Engraving. Sheet (trimmed to platemark): 9 x 11 5/8 in. (22.9 x 29.6 cm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Memorial to the Peasants' War, 1525. Albrecht Dürer (German, 1471–1528). The Four Apostles, 1526. Oil on panel. Each: 215 x 76 cm. (84 5/8 x 30 in.). Alte Pinakothek, Munich. Georg Pencz (German, c. 1500–1550). The Hunter Caught by the Hares, c. 1535–50. Woodcut and letterpress [text by Hans Sachs (German, 1494–1576]). Borderline: 25.5 x 39.3 cm. (10 1/16 x 15 1/2 in.); sheet: 54.5 x 39.5 cm. (21 7/17 x 15 9/16 in.). Museum of Fine Arts, Boston. Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Self Portrait and Connoisseur, c. 1565. Pen and brown ink. 25.5 x 25.1 cm. (10 x 9 15/16 in.). Albertina, Vienna. Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Netherlandish Proverbs, 1559. Oil on wood. 1172 x 1638 cm. Gemäldegalerie, Staatliche Museen zu Berlin. Key chart to Netherlandish Proverbs by Pieter Brueghel the Elder. Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). The Wedding Dance, 1566. Oil on wood. 47 x 62 in. Detroit Institute of Arts, Detroit. Compositional diagram of Pieter Brueghel the Elder's The Wedding Dance, 1566. Credit: Plum Street Music. Jacopo Tintoretto (Italian, 1518–1594). The Last Supper, 1594–94. Oil on canvas. 365 x 568 cm. (144 x 224 in.). Basilica di San Giorgio Maggiore, Venice. Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Hunters in Snow, 1565. Oil on wood. 117 × 162 cm. (46 × 63 3⁄4 in.). Kunsthistorisches Museum, Vienna. Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Temptation of St. Anthony, 1556. Pen and brown ink. 21.5 x 32.6 cm. Ashmolean Museum of Art and Archeology, Oxford. Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Temptation of St. Anthony, 1556. Engraving. Sheet (trimmed to platemark): 10 5/16 x 13 3/8 in. (26.2 x 33.9 cm). Metropolitan Museum of Art, New York. Hieronymus Bosch (Netherlandish, 1450–1516). The Garden of Earthly Delights, 1490–1500. Oil on wood (triptych). Overall: 328.2 x 185.8 cm. Museo del Prado, Madrid. Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Big Fish East Little Fish, 1556. Brush and pen and gray and black ink. Albertina, Vienna. Pieter van der Heyden (Netherlandish, c. 1525–1569), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Big Fish East Little Fish, 1557. Engraving. Sheet (trimmed to platemark): 9 x 11 5/8 in. (22.9 x 29.6 cm.). Metropolitan Museum of Art, New York. Jan van Eyck (Netherlandish, 1390–1441). Ghent Altarpiece, 1430–32. Oil on wood. 350 x 461 cm. Cathedral of St. Bavo. Ghent. Pieter van der Heyden (Netherlandish, c. 1525–1569), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Lust, from the series The Seven Deadly Sins, 1558. Engraving. Sheet (trimmed to platemark): 8 7/8 x 11 11/16 in. (22.6 x 29.7 cm.). National Gallery of Art, Washington, D.C. Pieter van der Heyden (Netherlandish, c. 1525–1569), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Sloth, from the series The Seven Deadly Sins, 1558. Engraving. Sheet (trimmed to platemark): 8 15/16 x 11 5/8 in. (22.7 x 29.6 cm.). Metropolitan Museum of Art, New York. Philips Galle (Netherlandish, 1537–1612), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Justice, from the series The Seven Virtues, 1559–60. Engraving. Sheet: 10 1/4 x 13 3/16 in. (26 x 33.5 cm); plate: 8 7/8 x 11 7/16 in. (22.5 x 29 cm). Metropolitan Museum of Art, New York. Paolo Veronese (Italian, 1528–1588). Christ in the House of Levi, 1573. Oil on canvas. 560 × 1,309 cm. (18.37 × 42.95 ft.). Gallerie dell'Accademia, Venice. Philips Galle (Netherlandish, 1537–1612), after Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Temperance, from the series The Seven Virtues, c. 1559–60. Engraving. Sheet: 9 5/8 x 12 5/16 in. (24.4 x 31.2 cm.); plate: 8 3/4 x 11 7/16 in. (22.3 x 29.1 cm.). Metropolitan Museum of Art, New York. Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). Landscape with Pilgrims at Emmaus, c. 1555–56. Etching and engraving. Sheet: 12 13/16 x 16 15/16 in. (32.5 x 43 cm.). Metropolitan Museum of Art, New York. Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). The Rabbit Hunt, 1560. Etching. Sheet (trimmed to platemark): 8 7/16 x 11 3/8 in. (21.4 x 28.9 cm.). Metropolitan Museum of Art, New York. Pieter Brueghel the Elder (Netherlandish, 1526/30–1569). The Harvesters, 1565. Oil on woo

In s2ep15, Ann Shafer and Tru Ludwig continue talking about game-changer Martin Luther and the effects of his 95 theses against the Catholic Church, which brought about the Protestant Reformation in 1517. In this episode they talk about the biting criticism of politics in the church and the schism with the Lutherans/Protestants that is the subject of prints by Hans Holbein the younger and Lucas Cranach the elder. Episode image: Hans Holbein the younger (German, 1497/98–1543). Martin Luther as Hercules Germanicus, 1522. Woodcut. Image: 34.5 x 22.6 cm (From Heinrich Brennwald and Johannes Stumpf, Schweizer Chronik, Ms. A 2, before p. 150). Zentralbibliothek, Zürich. Lucas Cranach the Elder (German, 1472–1553). Portrait of Martin Luther, 1529. Oil on wood. 73 x 54 cm. (28 ¾ x 21 ¼ in.). St. Anne's Church, Augsburg. Tru Ludwig, Powerpoint slide with Tiananmen Square and Martin Luther. Tru Ludwig, Powerpoint slide with Tiananmen Square, Martin Luther, and Rosa Parks. Hans Holbein the younger (German, 1497/98–1543). Martin Luther as Hercules Germanicus, 1522. Woodcut. Image: 34.5 x 22.6 cm (From Heinrich Brennwald and Johannes Stumpf, Schweizer Chronik, Ms. A 2, before p. 150). Zentralbibliothek, Zürich. Hans Lützelburger (German, died Basel, before 1526) after Hans Holbein the Younger (German, 1497/98–1543). The Clergyman, from the series The Dance of Death, c. 1526, published 1538. Woodcut. Sheet: 2 1/2 x 1 15/16 in. (6.4 x 4.9 cm.). Metropolitan Museum of Art, New York. Hans Lützelburger (German, died Basel, before 1526) after Hans Holbein the Younger (German, 1497/98–1543). The Nun, from the series The Dance of Death, c. 1526, published 1538. Woodcut. Sheet: 2 1/2 x 1 15/16 in. (6.4 x 4.9 cm.). Metropolitan Museum of Art, New York. Hans Lützelburger (German, died Basel, before 1526) after Hans Holbein the Younger (German, 1497/98–1543). The Pope, from the series The Dance of Death, c. 1526, published 1538. Woodcut. Sheet: 2 1/2 x 1 15/16 in. (6.4 x 4.9 cm.). Metropolitan Museum of Art, New York. Hans Lützelburger (German, died Basel, before 1526) after Hans Holbein the Younger (German, 1497/98–1543). The Peasant (or Ploughman), from the series The Dance of Death, c. 1526, published 1538. Woodcut. Sheet: 2 1/2 x 1 15/16 in. (6.4 x 4.9 cm.). Metropolitan Museum of Art, New York. Hans Holbein the Younger (German, 1497/98–1543). The Ambassadors, 1533. Oil on wood. 207 × 209 cm. (81 ×82 ½ in.). National Gallery, London. Hans Holbein the Younger (German, 1497/98–1543). Portrait of Henry VIII, c. 1537. Oil on wood. 28 x 20 cm. Thyssen-Bornemisza Museo Nacional, Madrid. Lucas Cranach the Elder (German, 1472–1553). Portrait of Martin Luther as Junker Jörg, c. 1521–22. Oil on wood. 52.5 x 35.5 cm. Klassik Stiftung, Weimar. Hans Baldung Grien (German, 1584/85–1545) after Lucas Cranach the Elder (German, 1472–1553). Martin Luther as an Augustinian Monk, 1521. Woodcut. Sheet: 156 x 114 mm. British Museum, London. After Lucas Cranach the Elder (German, 1472–1553). Pope Paul III as a Donkey, c. 1545. Unknown collection. Lucas Cranach the Elder (German, 1472–1553). The Old and the New Testament, c. 1528–32. Woodcut. Image: 233 x 324 mm.; Sheet: 270 x 325 mm. British Museum, London. Lucas Cranach the Younger (German, 1515–1586). Luther: For the Reformation and Against Catholicism, 1546. Woodcut with hand coloring. 35.1 × 58.5 cm. Kupferstichkabinett, Berlin. German, 16th century. Caricature of Martin Luther as a Wolf in Monk's Habit, c. 1500–25. Engraving. Image: 5 7/8 x 3 3/4 in. (15 x 9.5 cm.); sheet: 5 7/8 x 3 3/4 in. (15 x 9.5 cm.). New York Public Library, New York. Wolfgang Stecher (German, 16th century). Martin Luther as St. Jerome, 1587–97. Engraving. Sheet: 142 x 128 mm. Germanisches Nationalmuseum, Nuremberg. German, 16th century. Martin Luther and a Nun (Katharina von Bora?), c. 1535. Trick woodcuts. Germanisches Nationalmuseum, Nuremberg. Dutch 16th century broadsheet. The Pope's True Self, 1610. Engraving. Sheet: 15 ¾ x 6 ½ in. Staatliche Galerie Moritzburg, Halle, Germany. Lucas Cranach the Elder (German, 1472–1553). Four Horsemen of the Apocalypse, in Das Gantz New Testament, 1529. University of Glasgow Library, Special Collections. Lucas Cranach the Elder (German, 1472–1553). The Seven Candlesticks, in Das Gantz New Testament, 1529. University of Glasgow Library, Special Collections. Albrecht Dürer (German, 1471–1528). The Vision of the Seven Candlesticks, from the series The Apocalypse, 1498. Woodcut. 44.1 x 30.5 cm (17 3/8 x 12 in). Metropolitan Museum of Art. Lucas Cranach the Elder (German, 1472–1553). Anti-Papal caricature, the Pope-Donkey, 1523. Woodcut. Lucas Cranach the Elder (German, 1472–1553). Passion of Christ and the Antichrist. Wittenberg: Johann Rhau Grunenberg, 1521. Library of Congress, Washington, D.C. Lucas Cranach the Elder (German, 1472–1553). Bible, September 1522. Wittenberg: Melchoie Lotter the Younger, 1522. Photo: Guenther Rare Books. Lucas Cranach the Elder (German, 1472–1553). Bible

In s2ep14, Ann Shafer and Tru Ludwig look at Martin Luther and the effects of his 95 theses against the Catholic Church. Once the only patron of the arts, the Church faced a reckoning when Martin Luther brought about the Protestant Reformation in 1517. In addition to getting rid of the intercessor (the church and its priests), Protestantism calls for no images to distract. What's an artist to do in these newly Protestant countries (Germany and Flanders for this episode's purposes)? One could turn to landscape, portraiture, still lifes, myths, and fantastical subjects. Or one could turn to biting criticism of the politics of the church and the schism with the Protestants. Episode image: Lucas van Leyden (German, c. 1494–1533). The Milkmaid, 1510. Engraving. Sheet (trimmed to platemark): 114 x 155 mm. (4 ½ x 6 1/8 in.). Metropolitan Museum of Art, New York. Master ES (German, active 1450-1467). Lovers on a Grassy Bench, c. 1450-67. Engraving. Sheet: 134 x 162 mm. British Museum, London. Master ES (German, active 1450-1467). Letter G from The Fantastic Alphabet, c. 1466–67. Engraving. Sheet (trimmed to platemark): 151 x 143 mm. Staatliche Museen, Berlin. Unknown artist. Allegory of Pope Paul II and Emperor Frederick III, c. 1470. Engraving. 215 x 147 mm. British Museum, London. Lucas van Leyden (German, c. 1494–1533). The Milkmaid, 1510. Engraving. Sheet (trimmed to platemark): 114 x 155 mm. (4 ½ x 6 1/8 in.). Metropolitan Museum of Art, New York. Lucas van Leyden (German, c. 1494–1533). The Poet Virgil in a Basket, 1512. Woodcut. Sheet: 416 x 290 mm. (16 1/8 x 11 3/8 in.). Metropolitan Museum of Art, New York. Lucas van Leyden (German, c. 1494–1533). Lucretia, c. 1515. Engraving. Sheet: 4 5/8 × 3 1/8 in. (11.7 × 7.9 cm.). Metropolitan Museum of Art, New York. Lucas van Leyden (German, c. 1494–1533). The Beggars, 1520. Engraving. Sheet (trimmed to platemark): 175 x 141 mm. (6 7/8 x 5 9/16 in.). Metropolitan Museum of Art, New York. Lucas van Leyden (German, c. 1494–1533). The Surgeon, 1524. Engraving, 117 x 76 mm. (4 5/8 x 3 in.). Metropolitan Museum of Art, New York. Lucas van Leyden (German, c. 1494–1533). The Musicians, 15624. Engraving. Sheet (trimmed to platemark): 117 x 76 mm. (4 5/8 x 3 in.). Metropolitan Museum of Art, New York. Lucas van Leyden (German, c. 1494–1533). The Poet Virgil in a Basket, 1525. Engraving. Sheet (trimmed to platemark): 245 x 189 mm. (9 5/8 x 7 7/16 in.). Metropolitan Museum of Art, New York. Hans Sebald Beham (German, 1500–1550). Joseph and Potiphar's Wife, 1544. Engraving. Sheet (trimmed to platemark): 83 x 57 mm. (3 3/8 x 2 1/4 in.). National Gallery of Art, Washington, D.C. Hans Sebald Beham (German, 1500–1550). Ornament with a Mask Held by Two Genii, 1544. Engraving. Sheet (trimmed within platemark): 46 × 67 mm. (1 13/16 × 2 5/8 in.). Baltimore Museum of Art, Baltimore. Hans Sebald Beham (German, 1500–1550). The Little Buffon, 1542. Engraving. Sheet: 47 × 83 mm. (1 7/8 × 3 1/4 in.); plate: 46 × 81 mm. (1 13/16 × 3 3/16 in.). Baltimore Museum of Art, Baltimore. Hans Sebald Beham (German, 1500–1550). Two Couples Dancing (November and December), Plate 6 from the series The Peasants' Festival and Twelve Months, 1546–47. Engraving. Sheet (trimmed within platemark): 49 x 72 mm. (1 15/16 x 2 13/16 in.). Baltimore Museum of Art, Baltimore. Hans Sebald Beham (German, 1500–1550) after Barthel Beham (German, 1502–1540). Genius with the Alphabet on a Banderole, 1545. Engraving. Sheet (trimmed within platemark): 42 x 78 mm. (1 5/8 x 3 1/16 in.). Baltimore Museum of Art, Baltimore. After Hans Sebald Beham (German, 1500–1550). Joseph and Potiphar's Wife, 1526. Engraving. Sheet (diameter): 52 mm. Rijksmuseum, Amsterdam. Unknown German artist. Martin Luther as a Wolf in a Monk's Habit, c. 1500–25. Engraving. Sheet (trimmed within platemark): 5 7/8 x 3 ¾ in. (15 x 9.5 cm.). New York Public Library, New York. Hans Baldung Grien (German, 1484 or 1485–1545). Witches' Sabbath, 1510. Chiaroscuro woodcut. Image: 37.5 × 29.9 cm. (14 3/4 × 11 3/4 in.); sheet: 39.4 × 27.2 cm. (15 1/2 × 10 11/16 in.). Museum of Fine Arts, Boston. Hans Baldung Grien (German, 1484 or 1485–1545). Witches' Sabbath, 1510. Chiaroscuro woodcut. Image: 37.5 × 25.7 cm. British Museum, London. Albrecht Altdorfer (German, c. 1480–1538). The Ascension from the series The Fall and Redemption of Man, c. 1515. Woodcut. Image: 72 x 48 mm. Clevland Museum of Art, Cleveland. Albrecht Altdorfer (German, c. 1480–1538). Landscape with a Double Spruce, 1520/22. Etching. Sheet: 111 x 161 mm.; plate: 110 x 160 mm. Art Institute of Chicago. Hans Baldung Grien (German, 1584/85–1545). Group of Seven Horses (Stallion Approaching a Mare with Ape and Man Looking On), 1534. Woodcut. Sheet: 222 x 322 mm. (8 ¾ x 12 11/16 in.). Metropolitan Museum of Art, New York. Hans Baldung Grien (German, 1584/85–1545). Group of Seven Horses (Wild Horses Fighting), 1534. Woodcut. Sheet: 218 x 326 mm. (8 5/8 x 12 7/8 in.). Metropolitan Museum of Art, New York. Hans

In s2e13, Ann Shafer and Tru Ludwig talk about reproductive engravings and how they helped spread Italian art and style to Northern European countries. Italian Giorgio Ghisi worked for Antwerp publisher Hieronymous Cock and did much of the heavy lifting. The episode concludes with Federico Barocci and two of the loveliest etching and engravings yet discussed. Episode image: Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York. Domenico Campagnola (Italian, 1500–1564), possibly after a drawing by Titian (Italian, c. 1485/90–1575). Battle of the Nude Men, 1517. Engraving. Sheet (trimmed to platemark): 8 3/4 × 8 15/16 in. (222 × 227 mm.). Metropolitan Museum of Art, New York. Antonio Pollaiuolo (Italian, c. 1432–1498). Battle of the Ten Nude Men, c. 1490. Engraving. Sheet (trimmed within platemark): 384 x 589 mm. (15 1/8 x 23 3/16 in.). Metropolitan Museum of Art, New York. Master of the Die (Italian, active c. 1530–c. 1560), after Raphael (Italian, 1483–1520). Transfiguration, c. 1530. Engraving on blue paper. Sheet (trimmed to platemark): 404 × 322 mm. (15 7/8 × 12 11/16 in.). Baltimore Museum of Art, Baltimore. Master of the Die (Italian, active c. 1530–c. 1560), after Raphael (Italian, 1483–1520). Transfiguration, c. 1530. Engraving. Sheet (trimmed to platemark): 395 × 305 mm. (15 9/16 × 12 in.). Metropolitan Museum of Art, New York. Niccolò della Casa (French, active Italy, c. 1543–48). Portrait of Cosimo de' Medici in full armor, 1544. Engraving. Sheet: 17 1/8 in. × 12 in. (435 × 305 mm.); plate: 16 13/16 × 11 9/16 in. (427 × 294 mm.). Metropolitan Museum of Art, New York. Niccolò della Casa (French, active Italy, c. 1543–48), after Michelangelo (Italian, 1475–1564). The Last Judgment, 1548. Eleven engravings joined. 60 inches tall. Metropolitan Museum of Art, New York. [DETAIL] Niccolò della Casa (French, active Italy, c. 1543–48), after Michelangelo (Italian, 1475–1564). The Last Judgment, 1548. Eleven engravings joined. 60 inches tall. Metropolitan Museum of Art, New York. [DETAIL] Niccolò della Casa (French, active Italy, c. 1543–48), after Michelangelo (Italian, 1475–1564). The Last Judgment, 1548. Eleven engravings joined. 60 inches tall. Metropolitan Museum of Art, New York. [DETAIL] Niccolò della Casa (French, active Italy, c. 1543–48), after Michelangelo (Italian, 1475–1564). The Last Judgment, 1548. Eleven engravings joined. 60 inches tall. Metropolitan Museum of Art, New York. Michelangelo (Italian, 1475–1564). The Last Judgment, 1536–41. Fresco. 13.7 m × 12 m (45 × 39 ft.). Sistine Chapel, Vatican City. Agnolo Bronzino (Italian, 1503–1572). Cosimo de Medici in Armour, c. 1545. Oil on panel. 76.5 x 59 cm. (30 1/8 x 23 ¼ in.). Museo Nacional Thyssen-Bornemisza, Madrid. Abraham Bosse (French, 1602–1676). The Workshop of a Printer, 1642. Etching. Sheet (trimmed within platemark): 256 x 323 mm. (10 x 12 ¾ in.). British Museum, London. Georg Pencz (German, c. 1500–1550). The Hunter Caught by the Hares, c. 1535–50. Woodcut and letterpress [text by Hans Sachs (German, 1494–1576]). Borderline: 25.5 x 39.3 cm. (10 1/16 x 15 1/2 in.); sheet: 54.5 x 39.5 cm. (21 7/17 x 15 9/16 in.). Museum of Fine Arts, Boston. Anton von Maron (German, 1733–1808). Portrait of Johann Joachim Winkelmann, 1767. Oil on canvas. 136 x 99 cm. (53 ½ x 38 7/8 in.). Collection of Schloss Weimar, Weimar, Germany. Giorgio Ghisi (Italian, 1520–1582), after Michelangelo (Italian, 1475–1564). The Last Judgment, c. 1545–1565. Engraving. Sheet: 1202 x 1055 mm. (47 3/8 x 41 ½ in.). Museum of Fine Arts, Budapest, Hungary. Giorgio Ghisi (Italian, 1520–1582), after Raphael (Italian, 1483–1520). The School of Athens, 1550. Engraving. Sheet (trimmed within platemark): 513 x 810 mm. (20 3/8 x 31 7/8 in.). British Museum, London. Giorgio Ghisi (Italian, 1520–1582), after Agnolo Bronzino (Italian, 1503–1572). The Nativity, 1553. Engraving. Sheet (joined, and trimmed to platemark): 65.2 × 44.2 cm. (25 11/16 × 17 3/8 in.). Yale University Art Gallery, New Haven. Agnolo Bronzino (Italian, 1503–1572). Venus, Cupid, Folly, and Time (The Exposure of Luxury), c. 1545. Oil on wood. 146.1 x 116.2 cm (57 ½ × 45 ¾ in.). National Gallery, London. Tru Ludwig (American, born 1959). The Exposure of Luxury, 2012. Woodcut. Sheet: 48 x 33 in. Giorgio Ghisi (Italian, 1520–1582), after Giovanni Battista Bertani (Italian, 1516–1576). Hercules Victorious Over the Hydra, c. 1558. Engraving. Plate: 35 x 20.8 cm. (13 3/4 x 8 3/16 in.). Museum of Fine Arts, Boston. Michelangelo (Italian, 1475–1564). Sistine Chapel Ceiling, 1508–12. Fresco. 133 x 46 feet. Sistine Chapel, The Vatican. Giorgio Ghisi (Italian, 1520–1582), after Michelangelo (Italian, 1475–1564). The Prophet Jeremiah, from the series of Prophets and Sibyls in the Sistine Chapel, 1570–75. Engraving. Sheet (trimmed within platemark): 22 1/4 in. × 17 in. (56.5 × 43.2 cm.

Platemark host Ann Shafer is thrilled to announce the first Baltimore Fine Art Print Fair is scheduled for April 29-May 1, 2022. Ann and Tru Ludwig talk about the print fair's origins as a production of the Print, Drawing & Photograph Society of the Baltimore Museum of Art. That former fair ran from 1990-2017, and has been shuttered. Ann, along with partners Brian Miller and Julie Funderburk, have created a new, commercial art fair. More than twenty presses, publishers, dealers, and galleries will be in town offering the latest in contemporary prints and editions. The fair takes place at 1100 Wicomico Street in Baltimore's Pigtown neighborhood. The gigantic 1915 warehouse boasts 44K plus square feet of space on its top floor and offers panoramic views of the city. A convenient parking garage is attached to the building (entrance on Ostend Street). ADA access is through the front door on Wicomico Street. Details and tickets are available at baltimoreprintfair.com.

In episode 12, Ann Shafer and Tru Ludwig discuss the titan of Venetian painting, Titian, who happened to also make prints. Plus Ann and Tru take a deep dive into the epic first book of anatomy, Vesalius' On the Fabric of the Human Body, 1543. It turns out Titian had a hand in some of the woodcut illustrations in it. Episode image: page from Andreas Vesalius (Italian, 1514–1564). De humani corporis fabrica (On the Fabric of the Human Body). Padua: School of Medicine, 1543. (Photo: museoteca.com) https://museoteca.com/r/en/work/5782/andreas_vesalius/de_humani_corporis_fabrica_on_the_fabric_of_the_human_body_/!/ Titian (Venetian, 1488/1490–1576) and Giovanni Bellini (Venetian, c. 1430/1435–1516). The Feast of the Gods, 1514/1529. Oil on canvas. 170.2 x 188 cm (67 x 74 in.). National Gallery of Art, Washington, D.C. Titian (Venetian, 1488/1490–1576). Danaë, 1551–53. Oil on canvas. 187 x 204.5 cm (73 5/8 x 80 1/2 in.). The Wellington Collection, Apsley House, London. Titian (Venetian, 1488/1490–1576). Venus and Adonis, c. 1553–54. Oil on canvas. 186 x 207 cm (73 1/4 x 81 1/2 in.). Museo Nacional del Prado, Madrid. Titian (Venetian, 1488/1490–1576). Diana and Acteon, 1556–59. Oil on canvas. The National Gallery, London, and National Galleries of Scotland, Edinburgh. Titian (Venetian, 1488/1490–1576). Diana and Callisto, 1556–59. Oil on canvas. 187 x 204.5 cm (73 5/8 x 80 1/2 in.). The National Gallery, London, and National Gallery of Scotland, Edinburgh. Titian (Venetian, 1488/1490–1576). The Rape of Europa, 1559–62. Oil on canvas. 178 x 205 cm (70 1/16 x 80 11/16 in.). Isabella Stewart Gardner Museum, Boston. Titian (Venetian, 1488/1490–1576). Perseus and Andromeda, c. 1554–56. Oil on canvas. 230 x 243 cm (90 9/16 x 95 11/16 in.). The Wallace Collection, London. Ugo da Carpi (Italian, c. 1470–1532), after Titian (Italian, 1489/90–1576). St Jerome in the desert seated facing left, c. 1516. Chiaroscuro woodcut with two color blocks in green. Sheet: 156 x 95 mm. British Museum, London. Francesco Colonna. Hypnerotomachia Poliphili. Venice : Aldus Manutius, 1499. Jacopo de' Barbari (Venetian, c. 1460–1516). Bird's eye view of Venice from the south, 1500. Woodcut printed from 6 blocks. 134 x 281 cm. (52 ¼ x 110 ½ in.). British Museum, London. [DETAIL] Jacopo de' Barbari (Venetian, c. 1460–1516). Bird's eye view of Venice from the south, 1500. Woodcut printed from 6 blocks. 134 x 281 cm. (52 ¼ x 110 ½ in.). British Museum, London. [DETAIL] Jacopo de' Barbari (Venetian, c. 1460–1516). Bird's eye view of Venice from the south, 1500. Woodcut printed from 6 blocks. 134 x 281 cm. (52 ¼ x 110 ½ in.). British Museum, London. Albrecht Dürer (German, 1471–1528). Triumphal Arch of Maximilian I, 1515. Woodcut, 195 woodblocks printed on 36 sheets of large folio paper. Overall size: 354 x 298.5 cm (139 3/8 x 117 1/2 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Triumphal Chariot of Maximilian I, 1523. Eight woodcuts joined. Sheet: 53.02 × 233.76 cm (20 7/8 × 92 in.). National Gallery of Art, Washington, D.C. Master of the Die (Italian, active c. 1530–c. 1560), after Raphael (Italian, 1483–1520). Transfiguration, c. 1530. Engraving on blue paper. Sheet: 404 × 322 mm. (15 7/8 × 12 11/16 in.). Baltimore Museum of Art, Baltimore. Master of the Die (Italian, active c. 1530–c. 1560), after Raphael (Italian, 1483–1520). Transfiguration, c. 1530. Engraving. Sheet: 15 9/16 x 12 in. (395 x 305 cm.). Metropolitan Museum of Art, New York. Titian (Venetian, 1488/1490–1576). Triumphal Procession of Christ, 1510–1511. Ten woodcuts joined. 47 x 271 cm. (18 1/2 x 106 ½). British Museum, London. Titian (Venetian, 1488/1490–1576). The Submersion of Pharaoh's Army in the Red Sea, 1514–15, printed 1549. Twelve woodcuts joined. 40 x 55 cm (15 3/4 x 21 5/8 in.). Cleveland Museum of Art, Cleveland. Titian (Venetian, 1488/1490–1576). Pesaro Madonna, 1519–26. Oil on canvas. 4.88 × 2.69 m. (16 × 8.8 ft). Pesaro Chapel, Santa Maria Gloriosa dei Frari, Venice. Titian (Venetian, 1488/1490–1576). Assumption of the Virgin, 1516–18. Oil on panel. 690 × 360 cm. (270 × 140 in.). Basilica di Santa Maria Gloriosa dei Frari, Venice. Titian (Venetian, 1488/1490–1576). Christ Crowned with Thorns, 1542–43. Oil on canvas. 180 x 303 cm. (119 ¼ x 70 ¾ in.). Louvre, Paris. Imago Mortis (Dance of Death) from the Nuremburg Chronicle, c. 1493. Woodcut. Cornell University Library, Ithaca, New York. Tru Ludwig (American, born 1959). Three Graces, 2000. Woodcut. 36 x 48 in. Tru Ludwig (American, born 1959). The Exposure of Luxury, 2012. Woodcut. 48 x 33. Sandro Botticelli, Primavera, late 1470s–early 1480s. Tempera on panel. 202 × 314 cm. (80 × 124 in.). Uffizi Gallery, Florence. Agnolo di Cosimo, called Bronzino (Italian, 1503–1572). An Allegory with Venus and Cupid (The Exposure of Luxury), c. 1545. Oil on wood. 146.1 x 116.2 cm. National Gallery, London. Giuseppe Scolari (Venetian, before 1564–1625). The Entombment, 1592/1607. Woodcut. Sheet

In s2e11, Tru Ludwig and Ann Shafer talk about chiaroscuro woodcuts before moving on to the Mannerist painter and printmaker Parmigianino. Coming off the High Renaissance and the Sack of Rome in 1527, artists were looking for ways to shake it up. Out goes the solid forms and placid emotions and in comes the twisting, off-kilter compositions and extremes in emotions. Parmigianino is the first to really take up etching in a meaningful way (it's been engraving until this point--remember, Dürer tried etching but hated it). Tru makes the case for Parmigianino as a crucial creator. Ann becomes a fan. Episode image: Parmigianino (Italian, 1503–1540). Entombment, c. 1527–30. Etching. Sheet: 13 1/16 x 9 7/16 in. (332 x 240 mm.). Metropolitan Museum of Art, New York. Israhel van Meckenem (German, c. 1445–1503). Double Portrait of Israhel van Meckenem and His Wife Ida, c. 1490. Engraving. Sheet (trimmed to platemark): 130 x 175 mm. (5 1/8 x 6 7/8 in.). National Gallery of Art, Washington, D.C. Raphael (Italian, 1483–1520). School of Athens, 1509–11. Stanza della Segnatura, Apostolic Palace, Vatican. Michelangelo (Italian, 1475–1564). Sistine Chapel Ceiling, 1509–12. Vatican. Parmigianino (Italian, 1503–1540). Madonna and Child with Angels (Madonna with the Long Neck), c. 1534–40. Oil on panel. 216.5 x 132.5 cm. Uffizi Gallery, Florence. Parmigianino (Italian, 1503–1540). Self-Portrait in a Convex Mirror, c. 1524. Oil on convex panel. 24.4 cm. diameter. Kunsthistoriches Museum, Vienna. Giovanni Jacopo Caraglio (Italian, c. 1500/05–1565). Diogenes, c. 1526–27. Engraving. Sheet (trimmed within platemark): 286 x 217 mm. (11 ¼ x 8 9/16 in.). Metropolitan Museum of Art, New York. Michelangelo (Italian, 1475–1564). Madonna of the Stairs, c. 1491. Marble. 56.7 cm × 40.1 cm (22.3 in × 15.8 in). Casa Buonarroti, Florence. Michelangelo (Italian, 1475–1564). Pietà, 1498–99. Marble. 174 × 195 cm (68.5 × 76.8 in). St. Peter's Basilica, Vatican City. Ugo da Carpi (Italian, c. 1470–1532), after Parmigianino (Italian, 1503–1540). Diogenes, c. 1527–30. Chiaroscuro woodcut printed from four blocks in gray-green. Image: 18 11/16 x 13 5/8 in. (475 x 346 mm.). Metropolitan Museum of Art, New York. Roman. Laocoön and His Sons, 27 BCE–68 CE. Marble. 208 × 163 × 112 cm. (82 × 64 × 44 in.). Museo Pio-Clementino, Vatican City. Lucas Cranach the Elder (Germany, 1472–1553). Saint Christopher, c. 1509. Chiaroscuro woodcut printed in black and red-brown. Image: 11 x 7 1/2 in. (279 x 191 mm.). Minneapolis Institute of Arts, Minneapolis. Ugo da Carpi (Italian, c. 1470–1532), after Titian (Italian, 1489/90–1576). St Jerome in the desert seated facing left, c.1516. Chiaroscuro woodcut with two color blocks in green. Sheet: 156 x 95 mm. British Museum, London. Antonio da Trento (Italian, c. 1508–1550), after Parmigianino (Italian, 1503–1540). The Martyrdom of Saints Peter and Paul, c. 1530. Chiaroscuro woodcut printed from three blocks in three tones of blue. Sheet: 28.3 x 47 cm. (11 1/8 x 18 1/2 in.). National Gallery of Art, Washington, D.C. Antonio da Trento (Italian, c. 1508–1550), after Parmigianino (Italian, 1503–1540). The Martyrdom of Saints Peter and Paul, c. 1530. Chiaroscuro woodcut printed from three blocks in ochre and black. Sheet: 29 x 48.2 cm (11 7/16 x 19 in.). National Gallery of Art, Washington, D.C. Antonio da Trento (Italian, c. 1508–1550), after Parmigianino (Italian, 1503–1540). The Martyrdom of Saints Peter and Paul, c. 1530. Chiaroscuro woodcut printed from three blocks in dark green (line block), gray-green, and light gray-brown. Sheet (trimmed within border): 28.5 x 46 cm (11 1/4 x 18 1/8 in.). National Gallery of Art, Washington, D.C. Parmigianino (Italian, 1503–1540). Entombment, c. 1527–30. Etching. Sheet: 13 1/16 x 9 7/16 in. (332 x 240 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Agony in the Garden, 1515. Etching. Sheet: 9 3/16 × 6 9/16 in. (234 × 166 mm.). Metropolitan Museum of Art, New York. Parmigianino (Italian, 1503–1540). The Lovers, 1527–30. Etching. Sheet (trimmed within platemark): 5 13/16 × 4 1/8 in. (148 × 105 mm.). Metropolitan Museum of Art, New York. Andrea Mantegna (Italian, 1430/31–1506). The Entombment of Christ, before 1475. Engraving and drypoint. Plate: 11 7/16 x 16 3/8 in. (290 x 416 mm.). Metropolitan Museum of Art, New York. Federico Barocci (Italian, 1528–1612). The Stigmatization of Saint Francis, c. 1575. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 228 x 145 mm. Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco. FURTHER READING Naoko Takahatake, ed. The Chiaroscuro Woodcut in Renaissance Italy. Los Angeles: Los Angeles County Museum of Art, and Munich and New York: DelMonico Books/Prestel, 2018. David Rosand. Titian and the Venetian Woodcuts: A Loan Exhibition. Washington, D.C.: International Exhibitions Foundation, 1976. Rinaldo Canalis and Massimo Ciavolella, eds. Andreas Vesalius and the Fabrica in the Age of Prin

In this bonus episode, Ann Shafer talks to Tru Ludwig about being an artist and art historian, and how being a professor in both disciplines plays out. It's a fascinating confluence of ideas and passions in one person.

In s2e10, co-hosts Ann Shafer and Tru Ludwig continue talking about Italian printmaking in the 16th century focusing on MarcAntonio Raimondi, Agostino Veneziano, Giulio Romano, and our first female artist, Diana Scultori. They take a deep dive into MarcAntonio's Judgment of Paris (after a drawing by Raphael), from which Edouard Manet extracted the figural group for Déjuener sur l'herbe. Plus, the 1527 Sack of Rome changes everything. Episode image: Marcantonio Raimondi (Italian, c. 1480–before 1534), after Raphael (Italian, 1483–1520). The Judgment of Paris, c. 1510–20. Engraving. Sheet (trimmed within platemark): 11 7/16 x 17 3/16 in. (291 x 437 mm.). Metropolitan Museum of Art, New York. Domenico Campagnola (Italian, 1500–1564), possibly after a drawing by Titian (Italian, c. 1485/90–1575). Battle of the Nude Men, 1517. Engraving. Sheet (trimmed to plate): 8 3/4 × 8 15/16 in. (222 × 227 mm.). Metropolitan Museum of Art, New York. Marcantonio Raimondi (Italian, 1480–1527/34), after Raphael (Italian, 1483–1520). The Death of Lucretia, c. 1511–12. Engraving. Sheet (trimmed within platemark): 216 x 134 mm. (8 ½ x 5 ¼ in.). Museum of Fine Arts, Boston. Marco Dente da Ravenna (Italian, active by 1515–1527). Laocoön and his two sons being attacked by serpents, c. 1506. Engraving. Sheet (trimmed to platemark): 11 1/8 × 15 5/8 in. (282 × 397 mm.). Metropolitan Museum of Art, New York. Marco Dente da Ravenna (Italian, active by 1515–1527). Laocoön and his two sons being attacked by serpents, c. 1520. Engraving. Sheet (trimmed to platemark): 17 7/16 × 12 15/16 in. (443 × 329 mm.). Metropolitan Museum of Art, New York. Michelangelo (Italian, 1475–1564). David, 1502–04. Marble. Galerie dell'Accademia, Florence, Italy. William Blake (English, 1757–1827). Laocoon, 1825–27. Etching and engraving. 276 x 229 mm. Titian (Italian, c. 1488/90–1576). Bacchus and Ariadne, 1522–23. Oil on canvas. 69 ½ x 75 in. (176.5 x 191 cm.). National Gallery, London. Giorgione (Italian 1477/78–1510). The Tempest, c. 1508. Oil on canvas. 83 x 73 cm. (33 x 29 in.). Galerie dell'Accademia, Venice. Marcantonio Raimondi (Italian, c. 1480–before 1534), after Raphael (Italian, 1483–1520). The Judgment of Paris, c. 1510–20. Engraving. Sheet (trimmed within platemark): 11 7/16 x 17 3/16 in. (291 x 437 mm.). Metropolitan Museum of Art, New York. Titian (Venetian, 1488/1490–1576). Pastoral Concert or Fête champêtre, c.1508-10. Oil on canvas. 105 x 137 cm. Musée du Louvre, Paris. Édouard Manet (French, 1832–1883). Le Déjenuer sur l'herbe, 1863. Oil on canvas. 208 x 264.5 cm. Musée d'Orsay. Paris. Diana Scultori (Italian, 1536–1588). The Virgin and Child accompanied by many angels seated on a bank of clouds, 1547–1612. Engraving. Sheet (trimmed to platemark): 330 x 416 mm. British Museum, London. Diana Scultori (Italian, 1536–1588), after Giulio Romano (Italian, c. 1499–1546). Christ and the Woman taken in adultery, standing between two Salomonic columns of a temple, 1575. Engraving. Sheet (trimmed to platemark): 420 x 577 mm. British Museum, London. Diana Scultori (Italian, 1536–1588), after Giorgio Vasari (Italian, 1511–1574). The Visitation, 1588. Engraving. Sheet (trimmed to platemark): 390 x 284 mm. British Museum, London. Diana Scultori (Italian, 1536–1588), after Giulio Romano (Italian, c. 1499–1546). The archangels Michael, Gabriel and Raphael adoring the Virgin and Child who occur above seated on a cloud, 1547–1612. Engraving. Sheet (trimmed to platemark): 340 x 270 mm. British Museum, London.

In s2e9, co-hosts Ann Shafer and Tru Ludwig continue their conversation about early Italian printmaking with a strong focus on the engravings of Andrea Mantegna. They also talk about chiaroscuro woodcuts, always keeping the North within eyesight. Episode image: Andrea Mantegna (Italian, c. 1431–1506). Risen Christ between Saints Andrew and Longinus, c. 1470/75. Engraving. Sheet: 329 x 306 mm. (12 15/16 x 12 1/16 in.). National Gallery of Art, Washington, D.C. Master E.S. (German, active c. 1450–1467). St. Matthias, c. 1450–60. Engraving. Sheet (trimmed within platemark): 149 × 89 mm. (5 7/8 × 3 1/2 in.). Baltimore Museum of Art, Baltimore. Master of the E-Series Tarocchi (Italian, active c. 1465). Polyhymnia, c. 1465. Engraving with hand coloring. Sheet: 185 × 105 mm. (7 5/16 × 4 1/8 in.); plate: 180 × 99 mm. (7 1/16 × 3 7/8 in.). Baltimore Museum of Art, Baltimore. Antonio Pollaiuolo (Italian, c. 1432–1498). Hercules and Antaeus, c. 1475–80. Bronze. Museum Nazionale del Bargello, Florence, Italy. Hubert van Eyck (Netherlandish, 1370–1426) and Jan van Eyck (Netherlandish, 1390–1441). Adoration of the Mystic Lamb or The Ghent Altarpiece, 1432. Oil and tempera on wood. 138 x 181 in. St. Bavo's Cathedral, Ghent, Belgium. Masaccio (Italian, 1401–1428). The Holy Trinity with the Virgin and St. John and donors, 1425–27. Fresco painting in chapel. 236 x 125 in. in Santa Maria Novella, Florence, Italy. Antonio Pollaiuolo (Italian, c. 1432–1498). Battle of the Ten Nude Men, c. 1490. Engraving. Sheet (trimmed within platemark): 384 x 589 mm. (15 1/8 x 23 3/16 in.). Metropolitan Museum of Art, New York. Johannes de Ketham (German, 15th century). Fasciculus Medicinae, 1491. Bound volume published in Venice. Francesco Colonna (Italian, 1433/34–1527). Hypnerotomachia Polyphili, 1499. Bound volume published in Venice. Lucas Cranach the Elder (Germany, 1472–1553). Saint Christopher, c. 1509. Chiaroscuro woodcut printed in black and red-brown. Image: 11 x 7 1/2 in. (279 x 191 mm.). Minneapolis Institute of Arts, Minneapolis. Ugo da Carpi (Italian, c. 1470–1532), after Titian (Italian, 1489/90–1576). St Jerome in the desert seated facing left, c.1516. Chiaroscuro woodcut with two color blocks in green. Sheet: 156 x 95 mm. British Museum, London. Ugo da Carpi (Italian, c. 1470–1532), after Parmigianino (Italian, 1503–1540). Diogenes, c. 1527–30. Chiaroscuro woodcut printed from four blocks in gray-green. Image: 18 11/16 x 13 5/8 in. (475 x 346 mm.). Metropolitan Museum of Art, New York. Andrea Mantegna (Italian, c. 1431–1506). Camera degli Sposi, Gonzaga Ducal Palace, Mantua, Italy. Andrea Mantegna (Italian, c. 1431–1506). The Entombment, 1465–75. Engraving. Sheet (trimmed within plate): 229 x 439 mm. Art Institute of Chicago, Chicago. Ara Pacis Augustae, 13 BCE. Rome. Andrea Mantegna (Italian, c. 1431–1506). Risen Christ between Saints Andrew and Longinus, c. 1470/75. Engraving. Sheet: 329 x 306 mm. (12 15/16 x 12 1/16 in.). National Gallery of Art, Washington, D.C. Andrea Mantegna (Italian, c. 1431–1506). Bacchanal with Silenus, before 1475. Engraving with drypoint. Sheet: 12 in. × 17 1/4 in. (305 × 438 mm.). Metropolitan Museum of Art, New York. Andrea Mantegna (Italian, c. 1431–1506). Bacchanal with a Wine Vat, c. 1470–90. Engraving and drypoint. Sheet: 11 3/4 x 17 3/16 in. (299 x 437 mm.). Metropolitan Museum of Art, New York. Andrea Mantegna (Italian, c. 1431–1506). Battle of the Sea Gods, 1470s. Engraving and drypoint. Sheet: 340 x 451 mm. (13 ¼ x 17 ¾ in.). Minneapolis Institute of Arts, Minneapolis. Andrea Mantegna (Italian, c. 1431–1506). St Sebastian, c. 1506. Tempera on canvas. 213 x 95 cm. Galleria Franchetti, Ca' d'Oro, Venice. Andrea Mantegna (Italian, c. 1431–1506). Lamentation over the Dead Christ, c. 1483. Tempera on canvas. 680 x 810 mm. Pinacoteca di Brera, Italy. Albrecht Dürer (German, 1471–1528). The Virgin with the Swaddled Child, 1520. Engraving. Sheet (trimmed to platemark): 142 × 906 mm. (5 9/16 × 3 3/4 in.). Yale University Art Museum, New Haven. Andrea Mantegna (Italian, c. 1431–1506). The Virgin and Child, c. 1480–85. Engraving. Plate (trimmed within platemark): 8 1/8 x 8 3/16 in. (206 x 208 mm.); sheet: 10 5/16 x 9 3/16 in. (262 x 233 mm.). Metropolitan Museum of Art, New York.

In s2e8, co-hosts Ann Shafer and Tru Ludwig talk about the early history of prints and books in Italy, comparing it to Northern Europe. Differences in style and materials are discussed using the example of Masaccio's The Holy Trinity with the Virgin and St. John and donors, 1425–27, the fresco painting in chapel in Santa Maria Novella, Florence, Italy, and the Ghent Altarpiece, Jan and Hubert van Eyck's Adoration of the Mystic Lamb, 1432, an oil and tempera on wood multi-paneled altarpiece in St. Bavo's Cathedral, Ghent, Belgium. Circling back to prints, we also talk a lot about Antonio Pollaiuolo's engraving, the landmark Battle of the Ten Nude Men, c. 1490. Of course, Dürer pops back up, too. Master E.S. (German, active c. 1450–1467). St. Matthias, c. 1450–60. Engraving. Sheet (trimmed within platemark): 149 × 89 mm. (5 7/8 × 3 1/2 in.). Baltimore Museum of Art, Baltimore. Master of the E-Series Tarocchi (Italian, active c. 1465). Polyhymnia, c. 1465. Engraving with hand coloring. Sheet: 185 × 105 mm. (7 5/16 × 4 1/8 in.); plate: 180 × 99 mm. (7 1/16 × 3 7/8 in.). Baltimore Museum of Art, Baltimore. Antonio Pollaiuolo (Italian, c. 1432–1498). Hercules and Antaeus, c. 1475–80. Bronze. Museum Nazionale del Bargello, Florence, Italy. Hubert van Eyck (Netherlandish, 1370–1426) and Jan van Eyck (Netherlandish, 1390–1441). Adoration of the Mystic Lamb or The Ghent Altarpiece, 1432. Oil and tempera on wood. 138 x 181 in. St. Bavo's Cathedral, Ghent, Belgium. Masaccio (Italian, 1401–1428). The Holy Trinity with the Virgin and St. John and donors, 1425–27. Fresco painting in chapel. 236 x 125 in. in Santa Maria Novella, Florence, Italy. Antonio Pollaiuolo (Italian, c. 1432–1498). Battle of the Ten Nude Men, c. 1490. Engraving. Sheet (trimmed within platemark): 384 x 589 mm. (15 1/8 x 23 3/16 in.). Metropolitan Museum of Art, New York. Johannes de Ketham (German, 15th century). Fasciculus Medicinae, 1491. Bound volume published in Venice. Francesco Colonna (Italian, 1433/34–1527). Hypnerotomachia Polyphili, 1499. Bound volume published in Venice. Lucas Cranach the Elder (Germany, 1472–1553). Saint Christopher, c. 1509. Chiaroscuro woodcut printed in black and red-brown. Image: 11 x 7 1/2 in. (279 x 191 mm.). Minneapolis Institute of Arts, Minneapolis. Ugo da Carpi (Italian, c. 1470–1532), after Titian (Italian, 1489/90–1576). St Jerome in the desert seated facing left, c.1516. Chiaroscuro woodcut with two color blocks in green. Sheet: 156 x 95 mm. British Museum, London. Ugo da Carpi (Italian, c. 1470–1532), after Parmigianino (Italian, 1503–1540). Diogenes, c. 1527–30. Chiaroscuro woodcut printed from four blocks in gray-green. Image: 18 11/16 x 13 5/8 in. (475 x 346 mm.). Metropolitan Museum of Art, New York.

In s2e7, co-hosts Ann Shafer and Tru Ludwig discuss intaglio printmaking techniques, which include engraving, etching, mezzotint, and drypoint. They also talk about aquatint and other methods of getting an image incised into a copper plate. Images related to the episode are at platemarkpodcast.com.

In s2e6, co-hosts Ann Shafer and Tru Ludwig discuss relief printmaking techniques, which include woodcuts and linoleum cuts. They also talk about reduction woodcuts, aka suicide woodcuts.

In s2e5, co-hosts Ann Shafer and Tru Ludwig talk about paper as a support and the ink that is transferred from a matrix. Without these two materials, prints wouldn't exist.

In Platemark s2e4, co-hosts Ann Shafer and Tru Ludwig finish talking about Albrecht Dürer. He had a remarkable career, and changed the perception and reception of prints in Europe at the beginning of the 16th century. Albrecht Dürer (German, 1471–1528). The Fall of Man or Adam and Eve, 1504. Engraving. 25.1 x 20 cm (9 7/8 x 7 7/8 in). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Ecce Homo, from the series Large Woodcut Passion, c. 1498. Woodcut. Baltimore Museum of Art, Baltimore. Albrecht Dürer (German, 1471–1528). Ecce Homo, from the series Large Woodcut Passion, c. 1498. Woodcut with hand coloring. Baltimore Museum of Art, Baltimore. Albrecht Dürer (German, 1471–1528). The Bearing of the Cross, from the series Large Woodcut Passion, 1511. Woodcut. Sheet: 17 3/8 x 11 15/16 in. (441 x 304 mm.); image: 15 1/2 x 11 1/16 in. (393 x 281 mm.). Metropolitan Museum of Art, New York. Martin Schongauer (German, c. 1435/50–1491). Christ Carrying the Cross, c. 1475–80. Engraving. Sheet: 11 3/8 × 16 7/8 in. (289 × 429 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Christ Carrying the Cross, from the series Small Woodcut Passion, 1511. Woodcut. Sheet: 5 x 3 13/16 in. (127 x 97 mm.). Minneapolis Institute of Arts. Minneapolis. Albrecht Dürer (German, 1471–1528). Christ Carrying the Cross, from the series Engraved Passion, 1512. Engraving. Sheet: 4 9/16 × 2 15/16 in. (116 × 74 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Crucifixion, from the series Engraved Passion, 1511. Engraving. Sheet: 120 x 78 mm.; plate: 118 x 75 mm. Art Institute of Chicago, Chicago. Andrea Mantegna (Italian, 1430/31–1506). The Entombment of Christ, before 1475. Engraving and drypoint. Plate: 11 7/16 x 16 3/8 in. (290 x 416 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Madonna of the Crescent, frontispiece to the series Life of the Virgin, c. 1511. Woodcut. Sheet: sheet: 16 7/8 x 11 9/16 in. (429 x 294 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Birth of the Virgin, from the series Life of the Virgin, c. 1503. Woodcut. Sheet: 11 11/16 x 8 1/8 in. (297 x 206 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Death of the Virgin, from the series Life of the Virgin, 1510. Woodcut. Sheet: 11 9/16 x 8 3/16 in. (294 x 208 mm.). Metropolitan Museum of Art, New York. Rembrandt van Rijn (Dutch, 1606–1669). The Death of the Virgin, 1639. Etching and drypoint. Sheet: 16 1/8 x 12 3/8 in. (410 x 314 mm.). Metropolitan Museum of Art, New York. Marcantonio Raimondi (Italian, c. 1480–before 1534), after Albrecht Dürer (German, 1471–1528). The Ascension of Christ in Heaven, c. 1500–35. Woodcut. Sheet: 5 1/16 × 4 in. (129 × 102 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York. Andrea del Verrocchio (Italian, 1435–1488) and Alessandro Leopardi (Italian, 1466–1512). Equestrian Statue of Bartolomeo Colleoni, 1488. Cast bronze. Campo Santi Giovanni e Paolo, Venice. Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 393 x 285 mm (15 1/2 x 11 1/4 in). Baltimore Museum of Art, Baltimore. Albrecht Dürer (German, 1471–1528). St. Jerome in His Study, 1514. Engraving. Sheet (trimmed to platemark): 9 11/16 x 7 7/16 in. (246 x 189 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). St. Jerome, 1492. Woodcut. 190 x 133 mm. Kupferstichkabinett, Offentliche Kunstsammlung, Basel. Albrecht Dürer (German, 1471–1528). Melencolia I, 1514. Engraving. Sheet (trimmed to platemark): 9 7/16 × 7 5/16 in. (240 × 185 mm.). Metropolitan Museum of Art, New York. Raphael (Italian, 1483–1520). Portrait of Michelangelo as Heraclitus, School of Athens. Stanza della Segnatura, 1509–1511. Fresco wall painting. The Vatican. Albrecht Dürer (German, 1471–1528). Rhinoceros, 1515. Woodcut. 233 x 292 mm. (9 3/16 x 11 1/2 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Agony in the Garden, 1515. Etching. Sheet: 9 3/16 × 6 9/16 in. (234 × 166 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Triumphal Arch of Maximilian I, 1515. 195 woodblocks printed on 36 sheets of large folio paper. Overall size: 354 x 298.5 cm (139 3/8 x 117 1/2 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Triumphal Chariot of Maximilian I, 1523. Eight woodcuts joined. Sheet: 53.02 × 233.76 cm (20 7/8 × 92 in.). National Gallery of Art, Washington, D.C. Albrecht Dürer (German, 1471–1528). Four Apostles, 1526. Oil on two panels. Each: 215 x 76 cm. (85 x 30 in.). Alte Pinakothek, Bayreische Staatsgemäldesammlung, Munich. Andrea Mantegna (Italian, c. 1431–1506). St. Seb

In this bonus episode, co-hosts Ann Shafer and Tru Ludwig talk about how they got into art in the first place. From early childhood encounters through college, the hosts reveal why they love art and believe wholeheartedly in its transformative power.

In s2e3, co-hosts Ann Shafer and Tru Ludwig finally start talking about an artist. While there are artists of note before Dürer--say Martin Schongauer--he really changes everything. From his monogram claiming authorship to marketing his works, Dürer is the man. So much so that Ann and Tru only get through half of his story. A second episode will continue Dürer's story. Albrecht Dürer (German, 1471–1528). Self-Portrait at Thirteen, 1484. Silverpoint on prepared paper. 27.3 x 19.5 cm. (10 3/4 x 7 5/8 in.). Albertina, Vienna. Jan van Eyck (Netherlandish, 1390–1441). Arnolfini Portrait, 1434. Oil on wood. 32 x 24 in. National Gallery, London. Jan Van Eyck (Flemish, active 1422–1441). Portrait of a Man (Self-Portrait), 1433. Oil on oak. 26 x 19 cm. (10 ¼ x 7 ½ in.). National Gallery, London. Hugo van der Goes (Flemish, c. 1430/1440–1482). Portinari Altarpiece, 1475–76. Oil on wood. 253 x 304 cm. (99 ½ x 119 5/8 in.). Galleria degli Uffizi, Florence. Martin Schongauer (German, c. 1435/50–1491). Saint Anthony Tormented by Demons, c. 1470–75. Engraving. Sheet: 30 x 21.8 cm. (11 13/16 x 8 9/16 in.). Metropolitan Museum of Art, New York. Antonio Pollaiuolo (Florentine, 1429 or 1433–1498). Battle of the Nudes or Battle of the Naked Men, c. 1470–90. Engraving. 39.3 x 57.9 cm. (15 ½ x 22 3/4 in.). Cincinnati Art Museum. Albrecht Dürer (German, 1471–1528). Self-Portrait, 1500. Oil on panel. 67.1 × 48.9 cm. (26 1/3 × 19 1/3 in.). Bayerische Staatsgemäldesammlungen - Alte Pinakothek München. Albrecht Dürer (German, 1471–1528). Self-Portrait, 1498. Oil on panel. 52 x 41 cm. (20 ½ x 16 1/8 in.). Museo del Prado, Madrid. Albrecht Dürer (German, 1471–1528). The Virgin Appearing to Saint John, from the series The Apocalypse, 1498. Woodcut. Sheet: 44.1 x 30.3 cm. (17 3/8 x 11 15/16 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Saint John Devouring the Book, from the series The Apocalypse, 1498. Woodcut. Sheet: 44.1 x 30.6 cm. (17 3/8 x 12 1/16 in.); image: 39.4 x 28.3 cm. (15 1/2 x 11 1/8 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Saint Michael Fighting the Dragon, from the series The Apocalypse, 1511. Woodcut. Image: 39.2 x 28.3 cm. (15 7/16 x 11 1/8 in.); sheet: 44.1 x 30.5 cm. (17 3/8 x 12 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Martyrdom of Saint John, from the series The Apocalypse, 1511. Woodcut. Sheet: 39.1 x 28.3 cm. (15 3/8 x 11 1/8 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 39.3 x 28.5 cm. (15 1/2 x 11 1/4 in.). Baltimore Museum of Art, Baltimore. Albrecht Dürer (German, 1471–1528). The Vision of the Seven Candlesticks, from the series The Apocalypse, 1498. Woodcut. 44.1 x 30.5 cm. (17 3/8 x 12 in.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Saint John Devouring the Book, from the series The Apocalypse, 1498. Woodcut. Sheet: 44.1 x 30.6 cm (17 3/8 x 12 1/16 in.); image: 39.4 x 28.3 cm (15 1/2 x 11 1/8 in). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Four Female Nudes (The Four Witches), 1497. Engraving. 19.2 x 13.6 cm (7 5/8 x 5 3/8 in). Albertina, Vienna. Albrecht Dürer (German, 1471–1528). Nemesis (The Great Fortune), c. 1501–02. Engraving. Plate: 33.5 x 23.3 cm (13 3/16 x 9 3/16 in); sheet: 36 x 25.9 cm (14 3/16 x 10 3/16 in). National Gallery of Art, Washington. Albrecht Dürer (German, 1471–1528). The Great Piece of Turf, 1503. Watercolor and gouache heighted with white, mounted on cardboard. 40.8 x 31.5 cm (16 x 12 3/8 in). Albertina, Vienna. Albrecht Dürer (German, 1471–1528). Young Hare, 1502. Watercolor heightened with white. 25 x 22.5 cm. (9 ¾ x 8 ¾ in.). Albertina, Vienna. Albrecht Dürer (German, 1471–1528). Praying Hands, 1508. Brush and gray wash heightened with white on blue prepared paper. 29.1 x 19.7 cm (11 1/2 x 7 3/4 in). Albertina, Vienna. Albrecht Dürer (German, 1471–1528). The Fall of Man or Adam and Eve, 1504. Engraving (second state). 25.4 x 19.5 cm (10 x 7 5/8 in). Albertina, Vienna. Albrecht Dürer (German, 1471–1528). The Fall of Man or Adam and Eve, 1504. Engraving. 25.1 x 20 cm (9 7/8 x 7 7/8 in). Metropolitan Museum of Art, New York. Zoom in: https://www.metmuseum.org/art/collection/search/336222?searchField=All&sortBy=Relevance&ft=Durer+Fall+of+Man&offset=0&rpp=20&pos=12