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Index
Christina Weyl
Description: The Women of Atelier 17: Modernist Printmaking in Midcentury New York
The Women of Atelier 17: Modernist Printmaking in Midcentury New York
Index
Author
Christina Weyl
PublisherYale University Press
Copyright© 2019 by Christina Weyl
Stable URL: https://aaeportal.com/?id=-20511
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Index
A. I. R. Gallery, 178
Abbey Countey, Ellen, 14, 53, 63, 63, 215
Mnemosyne, 24, 53, 54
Scattered Journey, 215
Abstract Expressionism: apolitical approach of, 161
color printmaking and, 152
control vs., 149
Denver Art Museum exhibition on women artists of (2016), 16–17, 257n8
elitism and, 177
epic scale of work, 138, 160
Greenberg and, 94
inky thumbprints welcomed as personal expression of artist in, 78
marginalization of women artists in, 6, 71, 99, 160
printmaking and, 21, 160–61, 256n5, 259n69
scholarship on, 242n55
sidelining other forms of abstraction, 135
soft ground etching and, 126
spontaneity of, 143, 145
surrealism and, 240n24
abstraction, 36, 38, 42, 52, 86, 94–95, 121, 151, 182
academic careers, marginalization of women artists and, 200
Académie des Beaux-Arts, 30
ACA Gallery: Citron’s solo show (1946), 51
Acton, David, 16
Adamson, Glenn, 133
Thinking through Craft, 95
AFA. See American Federation of
Arts African American artists, 54, 139, 247nn109–10
Allentown Art Museum, 16
Grippe Collection, 239n10, 240n36, 241n53, 246n83, 255n106, 265n98. See also Grippe, Peter, for student ledger book
American Abstract Artists, 41, 48, 52, 135, 169
yearbook (1938), 52, 133
American Federation of Arts (AFA), 185
14 Painter-Printmakers exhibition (1957), 192, 194
annual print shows. See exhibitions and print annuals
Antúnez, Nemecio, 180
aquatints: Cilento and, 142
Citron and, 151, 153
Countey and, 53
direct blacks aquatint, 102
Fuller and, 102–3
Hayter learning technique of, 31
Leaf and, 184
Mason and, 132–33
Nevelson and, 1, 5
New York’s Atelier 17’s training in, 46
ARC Gallery, 178
Aronson, Irene, 181, 215–16
Moon Night, 216
Art Center Association (Louisville), Ascher Neogy, Lily, 216
Angel of the Annunciation, 216
Ashton, Dore, 153–54, 177
Associated American Artists, 156, 170, 261n11
Associated Artists of Pittsburgh, 26
Association Artistique les Surindépendants, 37
Atelier 17 (generally): celebration of 50th anniversary (1977), 15
challenges in researching, 16
collaborative nature of, 9, 10
history and contributions of, 7–13, 239n13
international scope of membership of, 9
myths about, 13–16
naming of, 9
standards of, 9
unique nature among printmaking studios, 6–7. See also Atelier 17 (New York); Atelier 17 (Paris); Hayter, Stanley William
Atelier 17 (New York): apolitical approach of, 161
beginnings of and association with New School, 8, 9–11, 21, 26, 39–43, 63, 91, 112, 240n21, 245n50, 245n55
collaborative nature of, 161
communal nature of, 249n37
Dehner and, 39
East Eighth Street location, 11, 43, 49, 55, 57–58, 58, 62, 75, 75–76, 138, 240n25, 240n38
female members, list of (Appendix A), 212–13
financial failure and close of, 12, 241n52
group photo at Schrag party (ca. 1960), 14
incorporated as nonprofit, 12, 240n35
information sharing at, 191
international draw of, 63
international exhibitions of, 9, 35, 186, 239n18
leadership while Hayter in Europe, 11–12, 46, 240nn32–33, 241n52
legacy of, 7, 22, 89, 197, 203, 211
as male space, 63
monitors at, 27, 46, 246n83
pricing of prints from, 174
printing presses and equipment at, 57–59, 61, 61–62, 64, 66, 66–72, 67, 95–96, 163–64, 248n20, 260n81
racial diversity at, 54, 139, 247nn109–10
relocating to Sixth Avenue, 12, 240n38
spontaneity in printmaking of, 142–44
starting year (at New School), 9, 240n21
terminating association with New School, 43, 240n28
21 Etchings and Poems, 12
unique nature among printmaking studios, 6–7, 43–44, 63
women’s experience at, 5–7, 20–22, 26, 27, 30, 46–47, 58–59, 61–65, 63, 91–94, 109, 189, 197–98, 211. See also egalitarianism and women artists; Hayter, Stanley William; A New Way of Gravure (film); specific women artists
Atelier 17 (Paris), 1, 30–39, 239n17
Dehner and gender norms in, 37–39
ending upon Hayter’s death (1988), 13
Fraternity (portfolio 1939), 36
international exhibitions of, 35
naming of, 9
post-WWII, 11–12, 240n31
pre- WWII, 8–9
Solidarité (portfolio 1938), 36
starting year, 9, 15, 239n1
women artists’ experience at, 20, 30–31, 35–36, 239n1. See also Hayter, Stanley William
Atelier Contrepoint (continuing Atelier 17 into present), 13
Auther, Elissa, 95
automatism, 9, 36–37, 41
Bailey, Julia Tatiana, 187
Baltimore Museum of Art, 191
Balzer Cantieni, Margaret, 179, 216–17
City Counterpoint, 217
Bank Street Atelier, 203
Barnet, Will, 45–46, 195, 246n79
Baro, Gene, 258n48
Barr, Alfred H., Jr., 176
Baskin, Leonard, 260n79
Man of Peace, 162
Baziotes, William, 142
Beauvoir, Simone de: The Second Sex, 65, 248n15
Becker, Fred: on Atelier 17’s collegial atmosphere, 28
at East Eighth Street location of Atelier 17, 57, 58, 63, 63
in MoMA show (1944), 11
on paper size needed for “large” prints, 163
at Pollock-Krasner House and Study Center symposium (1993), 241n51
on printing press at New York’s Atelier 17, 68
Belasco, Daniel, 248n15
Benton, Thomas Hart, 10, 49
Berea College (Kentucky), 179, 217, 270n59
Berger Nurkse, Harriet, 67, 67–68, 69, 75, 75–76, 180, 181, 217–18
Figures in a Garden, 218
Bertha Schaefer Gallery (New York), 124, 166, 260n90, 273n93
Betty Parsons Gallery (New York), 116, 181
Bignou Gallery (New York), 148
Birnbaum, Paula, 27, 35
Bishop, Isabel, 40–41, 50, 218
Noon Hour, 184
Playing with an Idea (with Stanley William Hayter), 218
black-and-white prints, 10, 21, 77, 152–53, 175
transition to color prints, 139, 141, 185. See also color printmaking
Blackburn, Morris, 263n62
Blackburn, Robert, 202, 247n108, 266n13
Printmaking Workshop, 201, 246n77
Blaine, Nell, 181, 218–19
untitled etching, 219
Blake, William, 96
Borgenicht Brandt, Grace, 190, 191, 219–20
Trees, 219. See also Grace Borgenicht Gallery; Laurel Gallery
Bosse, Abraham: A Printing Shop (Les Imprimeurs en taille-douce), 63, 64, 68, 248n12
Boston Printmakers, 185
Boston Public Library, 186–87
Boston’s Museum of Fine Arts, 175
Bourgeois, Louise: art dealer role of, 175
at Atelier 17, 48, 246n89
in Atelier 17’s exhibitions, 189
Brooklyn Museum print annuals and, 181
creativity and primacy of printmaking for (1973 to death), 199
Day and, 180, 208, 267n29
domestic vs. artist role of, 62
on engraving as gender-defined art, 99
feminism and, 17–18, 208, 209
friendships formed with other Atelier 17 women, 180
Hayter and, 6–7, 13, 241n43
individuality and personal vision of, 135, 199–200
influence and legacy of, 209
Johnson and, 181
MoMA retrospective (2017), 266n6
Nevelson and, 180
on physicality and dangers of carving process, 83, 99, 125
post-Atelier 17 artworks by, 172, 199
on print annuals, importance of, 181
surrealists and, 48, 246n87
as teacher, 200
techniques and tools used by, 102
transition to sculpture, 21, 83, 83, 135, 172
Yarrow and, 263n49
works by: He Disappeared into Complete Silence, 82, 83, 250n61
Louise Bourgeois: Sculptures (installation view 1950), 83, 83
Portrait of C. Y., 263n49
Brach, Paul, 206, 206
Brants, Cynthia, 41, 42–43, 54, 89, 220
Venus, 220
Braque, Georges, 37, 111, 244n42
Breton, André, 36, 48, 244n33
Brodsky, Judith, 203
Broner, Robert, 9, 13, 116–18
Artist with Family, 116, 118, 118
Brooklyn Daily Eagle, 146
Brooklyn Museum: Art School, 246n77
14 Painter-Printmakers exhibition (1955), 161, 161–62, 163, 194, 195
National Print Annual Exhibition, 152, 162, 162, 175–76, 181–82, 258n39, 262n27
New Expressions in Fine Printmaking exhibition (1952), 145, 186
print acquisitions by, 175, 262n23
Print Laboratory, 260n81
traveling exhibitions mounted by, 185. See also Johnson, Una
Brooks Memorial Art Gallery (now Memphis Brooks Museum of Art): Engler’s solo show (1957), 54
Broude, Norma, 107
Brown, Kathan, 89, 202
Bultman, Fritz, 245n62
burin engraving, 1, 33, 41, 79, 79–80, 84, 87, 91, 94, 96–103, 129, 185, 215, 218, 244n28
Butler, Judith, 18
Café du Dôme (Paris), 31, 243n18
Calapai, Letterio (Leo), 14, 198, 266n5
Calder, Alexander, 11, 31, 243n18
California Institute of the Arts, 205
Feminist Art Project, 207
California School of Fine Arts (now San Francisco Art Institute), 239n19
Canaday, John, 208–9
Cane, Florence, 81
Caraccio, Kathy, 203
carborundum printing, 29
Carnegie Museum of Art, 124
Caro, Anita de, 37
Carr, Alice Robertson (later Carr de Creeft), 9, 34–35, 40, 244n37
Cassatt, Mary: The Visitor, 110, 111, 115
Cavallon, Giorgio, 41, 245n62
Cedar Bar (New York), 49
cellocut, 137, 156, 193. See also Margo, Boris
central-core imagery, 204, 267n19
Chagall, Marc, 27, 201, 243n8
Charles M. Lea prize (Philadelphia Print Club), 183
Charm (magazine), 73–75, 74
Chesney, Lee, 197, 250n46
Chicago, Judy, 204, 205, 206
“Female Imagery” (article), 267n19
Chicago Printmakers, 203
Chicago Society of Etchers, 262n25
Childs, Bernard, 252n23
Chirico, Giorgio de, 80
Chiron Press, 198, 266n3
Cilento, Margaret, 142–44, 220–21, 257n14, 265n95
Abstract Expression, 142, 143, 144
Abstraction, 220
Citron, Minna: annuals, participation in, 182, 185
in Atelier 17’s exhibitions, 189
awards won by, 258n44
background and career of, 10, 50–52, 55, 129, 172, 198, 246–47n96, 256n111, 256n113, 258n49
Brooklyn Museum and curator Una Johnson, role of, 175, 182
at Brooklyn Museum Art School in teaching position, 146
color printmaking and, 152–53, 154, 185, 264n71
critical reception of, 100, 131, 158–59, 159–60
Dienes and, 181
Feminanities exhibition (1935), 50–51, 130
feminist consciousness and, 131, 172, 198, 204–5, 207
in 14 Painter-Printmakers, 192
Gelb and, 204
Hayter and, 6–7
individuality and personal vision of, 135, 200
“large” prints by, 160
Mayor and, 193–94
on Nevelson, 126
New York School and, 131, 256n117
overcoming gender boundaries, 135, 149
peer-to-peer networking of, 178
photograph of, 194, 204
as printmaking teacher, 89, 200
representation of female shape in prints of, 160
SAGA participation of, 182, 263n58
soft ground etching and, 129–31
solo show (ACA Gallery 1946), 51
solo show (Palmer Museum of Art 2017), 266n2
transition from social realism to abstraction, 152–53, 159
WPA-FAP role of, 29
works by: Amphityron, 152
Arrival, 148, 149, 151, 156
Burst of ‘29, 198, 199, 204
Death of a Mirror, 152
Descendo, 149, 151
Flight to Tomorrow, 185, 186
Hope Springs Eternal/Bargain Basement, 51, 51
Jet, 149, 151
Labyrinth (“Labarynthe”), 152–53, 153, 258n42
Laning, 175
Men Seldom Make Passes, 159, 159–60
Mime, 159
Prehistoric Imagery, 151
Prêle, 150, 151, 156
Slipstream, 151, 151
Squid under Pier, 129–31, 130, 153, 159, 258n44
Trepth, 159
“The Uncharted Course” (article), 149–51
“Venus through the Ages: The Character of Women as Portrayed in
Art” (article with Gelb), 160, 204, 267n20
Way thru the Woods, 100, 100, 159
Whatever, 152, 185, 185
Cleveland Museum of Art, 175
Clot, Auguste, 33
The Club (New York artists’ group), 30, 49, 181, 246n94
Club of Printing Women of New
York, 266n16
Cockcraft, Eva, 187
collage, 17, 21, 110–18, 255n88, 255n90
collective activism. See solidarity among women artists
color printmaking, 10, 11, 29, 151–57, 258n35
à la poupée process, 152
black-and-white prints transitioning to, 139, 141, 185
Citron and, 152–53, 154, 185, 264n71
cultural factors in desire to work in color, 258n51. See also simultaneous color printing
color reproductions, 154–56
Constantine, Mildred, 255n90
consumerism, 170, 173, 176. See also market for modernist prints
The Contemporaries. See Lowengrund, Margaret
contract printing, 27 control. See neatness and control
Corcos, Lucille, 38, 38
Cornell, Deborah, 203
Cotter, Holland, 101
Countey, Edward, 14, 53, 63, 63, 66, 66–68
crafts vs. fine arts, 20, 91, 94–96, 107, 141, 251–52n9. See also decorative arts
creativity and innovation, 95, 107, 113–14, 116, 124, 126, 145, 149, 167, 178. See also neatness and control
Crown Point Press, 202–3
cubism, 30, 35, 52, 220, 227–28, 235
cultural norms and gender roles: domestic vs. artist role of women, 62, 69–71, 84–86, 100–105, 248n9
Greenwich Village environment and, 50
Hayter’s conduct in line with, 13–15, 19, 241n41
male authority figures, women’s relationship to, 3
masculinizing effects of women working outside the home, 62
printing press and machinery, women’s relationship to, 66–72, 95–96
professional character, women’s desire for, 47
sculpture as male realm, 82, 84, 139
soft ground etchings and, 126, 128, 252n11
solo shows and exhibitions, limits on participation in, 171
transition of attitudes, 59–60, 62, 144, 146, 149
unconscious bias of times brought into studio, 19–20, 29
women artists of Atelier 17 pushing boundaries, 6–7, 21, 30, 62–65, 66, 92, 105, 112, 135, 154, 171, 199
World War II, effect of, 59, 62, 69, 84. See also masculinity; men artists; neatness and control; physicality of printmaking; sexism; tools
women artists Currier and Ives, 250n40
Cyril, Ruth, 46, 61, 61–62, 72, 181, 221, 246n83
Tailspin, 221
dada, 30. See also neo-dada movement
Dalí, Salvador, 10
David Porter Gallery (Washington, D.C.), 261n92
Dawe, Gabriel, 210
Day, Worden: on Atelier 17 as unique studio, 45, 46–47
in Atelier 17’s exhibitions, 189
Bourgeois and, 180, 208, 267n29
Brooklyn Museum print annuals and, 182
career of, 80–82
compared to Nevelson, 165
critical reception of, 166
Dienes and, 181
feminism and, 172, 207–8
14 Painter-Printmakers and, 192
Hayter and, 6–7, 14
in international traveling exhibitions, 186
Julius Rosenwald Fund fellowship awarded to, 139–40, 257n9
“large” prints by, 161–67
on male peers and their masculinity, 65
marketing role of, 178–79, 207
mysticism and, 140, 166
name change of, 166, 261n92
on New School’s faculty reaction to Atelier 17 noise, 62
overcoming gender boundaries, 21, 245–46n71
peer-to-peer networking of, 178–79, 207–8
photograph of, 81, 208
Ryan and, 178
solo show at Bertha Schaefer Gallery (1948), 166, 260n90
training in New York City, 48
transition from printmaking to sculpture, 80–82
U.S. Information Service film featuring (1961), 166
western U.S. vistas as inspiration for, 165–66
woodblock printing as choice of, 164, 257n21, 260n82
WPA-FAP role of, 29
works by: Arcana, 165
Atelier 17, 260n80
The Burning Bush, 139–40, 141, 161, 161–63
Kinfolk from Chinquapin Hollow, 139, 140
Marginal Peripheries, 165, 165–66
Prima Vera, 163, 163
Terra Incognita, 165
Tumuli, 166
“Why Painters Turn Sculptors” (article), 81
The World of Amelia Shade, 80, 80, 250n51
decorative arts, as feminine domain, 91–92, 95, 107, 110, 112, 121, 134–35, 169, 208
Dehner, Dorothy: career and domestic life of, 84–89, 147, 263n47
clean inking and neatness of work of, 147
critical reception of and subsequent understudy of, 18, 208
14 Painter-Printmakers and, 192
Hayter and, 7
influence of, 251n75
informal gatherings of women artists hosted by, 207–8, 208
later editions of prints by, 257n28
marriage to and divorce from Smith, 37–39, 84, 86, 147, 251n66
Nevelson and, 101, 180, 202, 209, 251n75
at New York’s Atelier 17, 39, 180, 245n46
not exhibitor in Atelier 17’s shows, 189
overcoming gender boundaries, 21
at Paris’s Atelier 17, 37–39
photograph of, 208
Seidler and, 180, 208
transition to sculpture, 21, 81, 86, 87–89, 88, 208
works by: Aerial to Infinity, 86
Ancestors, 86–87, 87
Bird Machine, 147, 147
Mountebanks with Charms, 147
My Life on the Farm, 84–86, 85
Portraits, 38, 38
Things on Strings, 86
untitled (bronze plaque), 87, 88
untitled (cast paper print), 88, 89
de Kooning, Willem, 6
Delâtre, Eugène, 33, 244n23
Delta Brush Manufacturing Corporation advertisement, 78, 79
dental tools, use of, 99, 252n29
Denver Art Museum: Women of Abstract Expressionism exhibition (2016), 16–17, 257n8
department stores’ marketing using modern art, 173, 261n9, 261n11
Design Workshop (Nyack, New York), 44
Desjobert, Edmond, 33
Detroit Institute of Arts, 175
Devree, Howard, 152
Dienes, Sari, 180–81, 192, 222, 260n79
Composition 13, 222
direct blacks aquatint, 102
directors of New York Atelier 17 (other than Hayter), 11–12. See also Grippe, Peter; Haass, Terry; Hoehn, Harry; Katz, Leo; Kleege, James
Schrag, Karl discrimination. See sexism
do-it-yourself industry, 47, 98, 252n20
Dolan/Maxwell gallery (Philadelphia), 262n35
Drewes, Werner, 11
Edelson, Mary Beth, 267n23
Some Living American Women Artists, 205, 205, 209
egalitarianism and women artists: gender parity at Atelier 17, 5–7, 11–15, 25–28, 34, 40, 46, 49–50, 55, 58–59, 78, 89, 191, 197, 203, 207, 211
Works Progress Administration’s Federal Art Project and, 29–30, 160
Egas, Camilo, 49, 51, 52, 62
elitism, 176–77
Éluard, Paul, 36, 244n40
embroidery, 110, 112, 128
Engler, Christine, 12, 46, 53–54, 185, 222–23, 263n59
Gigantic Shell, 223
engraving and etching: acid bath, use of, 1, 86, 102, 126, 149, 190
connections with sculpture, 80–89
dangers of etching acids, 102, 125, 253n40
reliance on master printers, 5, 27, 30, 33, 45, 200, 202, 243n22
revival of, 7, 34
as skilled craft more than art, 20, 91, 94–96, 107
sugar lift etching, 53, 102–4. See also burin engraving; “large” prints; physicality of printmaking
soft ground etching Ente, Lily, 208, 208 epic scale of work. See “large” prints
equal pay for equal work, 29
Ernst, Max, 9, 36, 37
Ettinger, Cindi, 203
Ewert, Gretchen, 203
exhibitions and print annuals, 181–88
importance of print annuals, 181–85, 262n25
international exhibitions of Atelier 17, 9, 35, 186–87, 239n18
national traveling shows, 185–86
political use of prints in Cold War, 187–88. See also specific museums, galleries, and artists
Experimental Etching Studio, 203
Exposition Internationale du Surréalisme (1938), 37
expressionism, 6. See also Abstract Expressionism
Faro, Robert Vale, 192, 265n100
fauvism, 35
Felsenthal, Francine, 46, 192, 223–24, 246n83
Beachcombers, 223, 224
feminine ideals: decorative art associated with, 91–92, 95, 107, 110, 112, 116, 121, 124, 134–35, 169, 208
fluctuating during midcentury period, 19
New School’s brand of radical intellectualism and, 40
reconciling with women working as artists, 146
rejected by women artists, 3, 159
sugary sweets associated with women of leisure class, 104, 253n47
women’s hands and, 73–75, 74, 250n40
women’s interactions with ink and, 78. See also neatness and control
feminist art movement, 23, 55, 65, 83, 110, 172, 195, 203–7, 209
feminist consciousness: Atelier 17 women artists and, 7, 17–18, 28
Bourgeois and, 17–18, 208, 209
Citron and, 131, 172, 198, 204–5, 207
early meetings of women artists Seen as, 208
first-wave feminists, 205
Fuller and, 209–10
Nevelson and, 17–18, 19, 207, 209, 267n32
New Woman archetype and, 55, 247n112
not applicable to all women artists associated with Atelier 17, 209
physicality of printmaking and, 65
second-wave feminists, 109–10, 124, 207. See also feminine ideals
“femmage,” 111–12, 118. See also Schapiro, Miriam, and Meyer, Melissa fiber art, 7, 17, 21, 105–10
collaged fiber as precursor to, 110–18
Fuller and creation of original textiles, 120–25, 255n90
Fields, Virginia, 193
Finch College Museum of Art (New York): The Dominant Woman exhibition (1968–69), 204
Fine, Perle, 11, 104, 186, 208, 224, 265n104
With Abandon, 224
fingerprints or thumbprints, 73, 76–78, 154, 250n45
Fletcher, Edith (first wife of Hayter), 8, 31, 34, 243n18
Florence Cane School of Art, 81, 250n53
Folds, Thomas M., 154, 156
Fort, Louis, 33
Fort Worth Circle, 41
14 Painter-Printmakers, 192–95, 265n101
Brooklyn Museum exhibition (1955), 161, 161–62, 163, 194, 195
Joseph Grippi Gallery exhibition (1963), 194
Peter Deitsch Gallery exhibition (1960), 194
photograph from party (1954), 194
Fourteenth Street School, 50
Franc, Helen M., 188
Francksen, Jean, 224–25, 263n62
Bouquet, 225
Frankenthaler, Helen, 144
Frederick, Helen, 203
Fried, Rose, 169, 254n64
Friedan, Betty: The Feminine Mystique, 19, 63, 146, 248n14
Frost, Rosamund, 96
“The Chemically Pure in Art” (article), 148
Fuller, Sue: aquatints and, 102–3
in Atelier 17’s exhibitions, 189–90
career of, 25–27, 46, 55, 242n2, 252n26, 261n9
collaged fiber and, 110–13, 115, 118, 255n90
compared to Nevelson, 128
critical reception of, 105, 126, 158, 160, 190
family background of, 54, 255n99
feminism and, 209–10
fine art printmaking as career choice of, 99
14 Painter-Printmakers and, 192
Guggenheim Foundation award and, 124, 255n97
Hayter and, 7, 26–27, 99, 105, 122, 252n11
individuality and personal vision of, 135
in international traveling exhibitions, 186
Laguna Beach Art Association annuals and, 185
“large” prints by, 160
in Laurel Gallery exhibition (1949), 265n95
in Life magazine (1949), 209–10, 210
in MoMA exhibition (1944), 11, 186
overcoming gender boundaries, 105, 112, 135
in Painter-Printmakers, 192
peer-to-peer networking of, 178, 208
photograph of, 210
at Pollock-Krasner House and Study Center symposium (1993), 25, 241n51
as printmaking teacher, 28, 89, 112
Ryan and, 27, 55, 112
SAGA participation of, 182, 263n59
saving and collecting of materials for reuse in art of, 118–19
solo show (1946), 105
string compositions and anticipating fiber art, 120–25, 158, 182, 209–10, 259n61
techniques and tools used by, 102–5, 253n42
in Vanguard membership, 192
Village Art Center’s Graphic Arts Show winner (1946), 105, 118, 253n50
in Willard Gallery show (1945), 190
works by: Cacophony, 119, 254n81
Cock, 103, 103–4, 112, 120, 182
Emperor’s Jewels, 112, 254n65
Hen (etching and engraving), 106, 112, 125, 126, 177, 185
Hen (lace and paper collage), 105, 107, 120, 123
Lancelot and Guinevere, 158, 158
“Mary Cassatt’s Use of Soft-Ground Etching” (article), 110, 115
Sailor’s Dream (collage), 123, 123–24
The Sailor’s Dream, 121–22, 122, 125
Sonnenschein Umbrella Company, 26, 26, 242–43n6
The Sorceress, 182, 183
String Composition #63, 121, 121, 124
String Composition #128, 255n89
Tides of the City, 158, 159, 182
“Twentieth Century Cat’s Cradle” (article), 124
Full Tilt Print Studio, 203
Gainsborough, William, 103
Garafulic, Lily, 186, 190, 225–26
untitled, 225
Gelb, Jan: biography of, 226
Citron and, 204
exclusion from exhibition to commemorate Atelier 17’s 50th anniversary, 15
14 Painter-Printmakers and, 192
marketing efforts of, 194
museum purchase of work of, 193
on Nevelson’s work, 3, 260n84
peer-to-peer networking of, 178
photograph of, 71, 71, 204
transition from social realism to surrealism, 193
wife of Margo, 181, 193, 226
works by: Hyaline Pavane, 168, 193, 193
Night Wind, 226
“Venus through the Ages: The Character of Women as Portrayed in Art” (article with Citron), 160, 204, 267n20
gender norms. See cultural norms and gender roles; masculinity; physicality of printmaking
sexism geometric abstraction, 30, 132–35, 198
Gestalt theory, 8
Getz, Ilse, 207
Giacometti, Alberto, 9, 36
Gibson, Ann Eden, 17, 116, 118, 160, 254n69
Glamour Girls of ‘43 (newsreel), 69–70
Goetz, James, 102
Jonah, 158
Goldwater, Robert, 48
Gorky, Arshile, 52, 247n102
Gottlieb, Adolph and Esther, portraits of, 38, 38
Grace Borgenicht Gallery show (New York 1951), 191. See also Borgenicht Brandt, Grace
Graham, John, 37, 244n40
Grand Central Moderns (Grand Central Art Galleries, New York): Ancient Games, Ancient Places (exhibition 1955), 5, 164
Graphic Circle, 162, 179, 192
Great Depression, 10, 118–20, 141, 160
Green, Benjamin, 108
Greenberg, Clement, 41, 94, 116, 138, 143, 154, 156, 166, 257n16
“Avant-Garde and Kitsch” (1939 essay), 94–95
Grenfell Press, 203
Grey, Marian Powys, 255n100
Grippe, Florence, 12, 16, 164, 240n38, 245n70, 260n83
Grippe, Peter: at Brandeis University, 197
Dienes and, 181
interrupting New York symposium (1993), 16, 241n52
Nevelson and, 77–78, 101, 126, 128, 253n36
as New York Atelier 17 director, 12, 164
organizing Atelier 17 group shows, 189, 191, 265n98
press and, 248n20
relocating of Atelier 17 to Sixth Avenue, 12, 240n38
student ledger book kept by (with Florence Grippe), 12, 164, 212, 224, 240n36, 246n83, 253n265, 255n106, 260n83, 270n62
Grosman, Maurice, 201–2
Grosman, Tatyana, 89, 201–2
Grosz, Elizabeth, 18, 73
Guerrilla Girls, 209
Guggenheim Foundation, 124, 184, 190, 255n97
Guggenheim Jeune exhibition (1939), 35
Guilbaut, Serge, 187
Haas, Hildegarde, 192
Haas, Irvin, 108–9, 145, 158–60, 174–76, 259n59
Haass, Terry, 12, 46, 226–27, 240n33, 247n108
Battle against Death, 227
hands, appearance and care of, 73, 75
hand-coloring resulting in stained fingers, 250n40. See also fingerprints or thumbprints
hand-wiping, 72–73, 250n44
hard ground etching, 99, 108, 109
Hare, David, 142
Harris, Ann Sutherland, 83
Harris, Martin: The Advanced Group Works Together, 57, 58, 63
Examining the Proof, 67, 67–68, 69
Fannie Engraves a Copper Plate, 75
Haseltine, Teddy, 72
Hawthorne, Charles W., 52, 247n102
Hayter, Stanley William: ability to promote his reputation, 178
on amateur artists, 47
Atelier 17 founded by, 1, 6, 8
awards received by, 183
Bourgeois and, 6–7, 13, 241n43
Brooklyn Museum and curator Una Johnson, role of, 175, 262n23
burin, use of, 96–97
Calder and, 243n18
at California School of Fine Arts (now San Francisco Art Institute), 239n19
Citron and, 6–7
contributions and legacy of, 7–13, 22, 197, 211, 241n54, 266n1
Countey and, 53
critical reception of, 92, 148
Day and, 6–7, 14
death of (1988), 13, 15
Dehner and, 7
Engler and, 53–54
in Exposition Internationale du Surréalisme (1938), 37
first two solo shows in New York (1941), 148
Fuller and, 7, 26–27, 99, 105, 122, 252n11
in Graphic Circle, 192
hands of, 75
income streams of, 263n37
Leaf and, 241n41
Leicester Galleries exhibitions and, 190
on male artists’ contribution at Atelier 17, 6
marketing strategies of, 174
move to New York (1940) and association with New School, 9–11, 40, 45–46, 91, 239n19
Nevelson and, 13, 99
in New York from December 1951 to February 1952, 240n35
originality and, 144–45
personality of, 13–14, 241n43
Philadelphia Print Club and, 183
philosophy and pedagogical approach of, 44–45, 63, 91, 97, 99, 160, 251–52n9, 252n11
photograph of, 14, 64, 67
press acquisition and, 260n81
price of copper plates and drawings by, 262n35
printmaking training offered by, 34–35, 189
printmaking training taken by, 31–33
relationship with women’s artists, 13–15, 19, 21, 30–31, 50–54, 241n41
return to Europe (1950), 11–12, 189
Ryan and, 7, 42, 113, 174, 245n65
SAGA participation of, 182
soft ground etching and, 108, 113, 116, 119, 254n83
surrealism and, 9, 20, 36, 41, 49
on symbiotic relationship between printmaking and artistic progression, 80
in The Tiger’s Eye article (1949), 137
on U.S. reception to prints mid-century, 173–74
vacillation between control and spontaneity in work of, 148
works by: About Prints (book), 63, 240n27
Angels Wrestling, 108, 109
Bottles, 31, 32
Cinq Personnages, 153
Combat, 92, 93, 251n2, 262n23
New Ways of Gravure (book), 79, 79, 104, 240n27. See also Atelier 17 (generally); Atelier 17 (New York); Atelier 17 (Paris)
A New Way of Gravure (film 1951) Heald, James N., II, 242n56
Hecht, Joseph, 8, 31, 33–35, 239n15
Arche de Noë suite, 33, 33 Heresies (journal), 111
Hesse, Eva, 258n34
Highfield Gallery (Falmouth, Mass.), 191
Hillsmith, Fannie, 75, 75, 180, 227–28
The Table-Study No. 5, 227
hobbies, popularity of, after World
War II, 47, 97–98
Hoehn, Harry, 12, 14, 46, 240n33
Hofmann, Hans, 11, 14, 25, 28, 41, 48, 138, 242n3, 245n62
Hollander, Irwin, 253n38
Hollander Graphic Workshop, 5
Howell, Douglass, 116
Hugo, Ian, 11
Huntoon, Mary, 8, 31, 33, 34, 35
New York Telephone and Telegraph, 31, 32
Husband, Dalla, 9, 34–35, 40, 244n36
untitled (etching), 36, 36–37
Hyde, Helen, 248n9
Iconograph (magazine), 138
impressionism, 108
inking: Atelier 17’s pioneering and perfecting new methods, 1, 7, 16, 86, 116
Citron and, 100, 148, 154
Dehner and, 147
Hayter’s teaching of, 31, 45
inky hands and dirty clothes, 72–78, 75, 249n36
Nevelson and, 3, 5, 76, 77–78, 153–54, 249n36, 250n45
Ryan and, 157
technical aspects of, 20
women printmakers at Atelier 17 and, 58–60, 78. See also fingerprints or thumbprints; neatness and control
Inter-American Office, 186, 188, 264n75
intersectionality, 7, 173
Iowa Print Group, 206. See also Lasansky, Mauricio; University of Iowa’s printmaking program
Jacobi, Lotte, 43, 228
untitled, 228. See also Lotte Jacobi Gallery
Jacques Seligmann Gallery, 179, 192
Jaques, Bertha, 248n9
Jennifer Melby Editions, 203
La Jeune Gravure Contemporaine, 34
Jewell, Edward Alden, 51–52
Jewish Museum (New York) exhibition on rivalry between Rosenberg and Greenberg (2008), 257n16
Johnson, Alvin, 40, 44
Johnson, Una, 139, 141, 145, 162, 175, 181, 184, 186, 193, 260n81, 262n22, 263n54, 265n101
Jones, Caroline, 161, 167
Joseph Grippi Gallery: Unique Images exhibition (1963), 194
Julius Rosenwald Fund, 80, 139–40
Jumble Shop (New York), 49
Kadish, Reuben, 249n36
Kahn, Wolf, 169
Kainen, Jacob, 97
Kalamazoo Institute of Arts, 185
Kandinsky, Wassily, 251n7
Katz, Leo, 12, 46, 53, 57, 99
Struthiomimus, 98
Kendall Company, 259n79
Kesser, Tom, 193
Kettunen Zegart, Margaret Jean (known as Kett), 50, 191, 228–29, 265n99
Heavy Bird, 228
Kilstrom, Kenneth, 102
Kistler, Lynton, 202
kitchen craft and metaphors, 100–105
Kleeblatt, Norman L., 257n16
Kleege, James, 12, 181, 241n51
Kline, Franz, 160–61
Kozloff, Max, 187
Krasner, Lee, 240n25
Kraushaar, Antoinette, 193
Kraushaar Galleries show (New York 1954), 192, 194
Kunsthaus Zurich, 186, 264n76
Kunstzaal de Gulden Roos exhibition (Maastricht 1936), 36
Kup, Karl, 105, 126, 131, 182, 193, 262n22
lace, use of, 1, 103, 105, 107, 112, 120, 124, 125, 128–29, 188, 189, 255n100
Lacourière, Roger, 33
Lader, Deborah, 203
Laguna Beach Art Association, 185, 264n70
Landau, Ellen, 17
Lansford, Alonzo, 105, 152, 156–57
Lanyon, Ellen, 206, 207 “large” prints, 21–22
dismissal of women artists’ large works, 160–67
epic scale of, 138
Graphic Circle and, 162
museums and traditional printmaking societies and, 162
paper stock requirements for, 163, 259n76
presses and, 64, 163–64
transition of women artists to, 139–42
Lasansky, Mauricio, 11, 145, 197, 206, 252n11. See also Iowa Print Group
University of Iowa’s printmaking program Lassaw, Ibram, 149
Laurel Gallery exhibition (New York 1949), 190–91, 194
Laurent, Robert, 38
Leaf, Ruth: Atelier 17 membership of, 184–85
biography and family background of, 54, 229
domestic vs. artist role of, 70
Hayter and, 241n41
in Library of Congress annual exhibition, 184
printmaking studio of, 18, 72, 89, 185, 200, 201, 229, 266n11
Sternberg and, 29, 184–85
works by: Intaglio Printmaking Techniques (book), 71–72, 200
Tears, 184, 184
untitled portrait, 229
Legg, Alicia Bell, 217, 227, 229–30
Plant, 230
Lehigh University, 179
Leicester Galleries: exhibition (1934), 35
exhibition (1947), 190
Leja, Michael, 17, 96
Levy, Edgar, 38, 38
Lévy-Hayter, Désirée (third wife of Hayter), 14, 241n41
Lewenthal, Reeves, 156, 261n11
Library of Congress, National Exhibition of Prints, 184, 262n25
Lieberman, William (Bill), 193, 202
Life magazine on Sue Fuller (1949), 209–10, 210
Lippard, Lucy, 18, 101, 185, 206
Lisle, Laurie, 260n89
Lotte Jacobi Gallery (New York), 164, 228. See also Jacobi, Lotte
Lowengrund, Margaret, 162, 192, 265n101
Contemporaries Graphic Art Centre, 201, 246n77
Lower East Side Printshop, 203
Ludins, Ryah, 29–30
Lumsden, E. S.: The Art of Etching, 103
Magid, Eleanor, 203
Manchester, Hope, 190
Man Ray, 78
Érotique voilée, 68, 69, 249n22
Marcoussis, Louis, 68
marginalization of women artists, 35, 63, 78, 80–82, 104, 111, 116, 138–39, 144, 158, 160, 166–67, 200, 211, 266n16. See also specific artists and their critical reception
Margo, Boris, 3, 137, 156, 181, 188, 192, 193, 226
market for modernist prints, 172–78
Day’s marketing role, 178–79, 207
Gelb’s marketing strategies, 194
Hayter’s marketing strategies, 174
Ryan’s marketing role, 174–75, 207
Marks, Leonard, 188
Marquié, Elie, 118
Marquié, Vivian, 156
Marquié Gallery (New York), 92, 156–57
Marsh, Reginald, 41, 50, 245n57
Marter, Joan, 17
Martinelli, Sheri, 180, 190, 230–31
untitled print from 15 Original Etchings and Serigraphs, 230
Martins, Maria, 186, 231
Impossible, 231
Marxer, Donna, 205, 267n22
masculinity, 59, 65, 82–83, 91
tool use and, 94–101, 252n19. See also physicality of printmaking
Mason, Alice Trumbull: aquatints and, 132–33
in Atelier 17’s exhibitions, 189
on Atelier 17’s unique position, 52
awards received and institutions owning works by, 169, 182, 183
Brooklyn Museum print annuals and, 182
career of, 52, 198–99
critical reception of, 169
difficulty encountered in selling her works, 169, 176
domestic vs. artist role of, 249n29
in 14 Painter-Printmakers, 192
individuality and personal vision of, 135, 200
overcoming gender boundaries, 135
painting vs. woodcuts by, 198–99
peer-to-peer networking of, 178
photograph of, 14, 194, 266n5
Ryan and, 70, 249n29
SAGA participation of, 263n59
saving and collecting of materials for reuse in art of, 119
studio of, 198
textural geometry and, 132–35, 198
traveling show of etchings by (1951–1952), 169, 171
works by: Deep Sound, 188, 189
Indicative Displacement, 132, 132–33
Interference of Closed Forms, 169, 170, 183
Labyrinth of Closed Forms, 183
Meanderthal Roturns, 133, 134
9 Triangles, 200
Orientation of Closed Forms, 183
Painting #1, 53, 53
Mason, Emily, 268n2 (Appendix A)
Masson, André, 11, 27, 243n8, 253n44
Improvisation, 104
master printers. See engraving and etching
Matisse, Henri, 25, 34, 251n7
Matulka, Jan, 28, 38
Mayer, Clara, 9, 240n20
Mayor, A. Hyatt, 163, 191, 193–94, 262n22
McEuen, Melissa, 73, 75
McFadden, Elizabeth, 70, 249n29
McNay Art Museum, 209
Melby, Jennifer, 203
Melosh, Barbara, 83–84
Memphis Academy of Arts, 178–79
men artists: access to lace and fabric scraps, 119
Atelier 17 as male space, 63
“Black Thumb Group” for male artists, 77–78, 250n46
control over prints’ production, 58
creativity of work of vs. skilled artisan work of women, 95
dominance in printmaking trade, 19, 29, 33, 58, 63, 78
dominance in sculpture, 82, 84, 139
flow of ideas between men and women at Atelier 17, 46
Graphic Circle, 162, 179, 192
Pollock in control of his painting process, 144
power tools and, 98–99
women artists standing up to, 3. See also cultural norms and gender roles; masculinity; physicality of printmaking; names of specific artists
Metropolitan Museum of Art, 110, 191, 193, 209
Meyer, Melissa, 110–11, 118, 122
Meyerowitz, Joanne, 146
Michigan State College, 191
Midtown Gallery: Feminanities exhibition (1935), 50–51
Milgrim, Sally, 173
Milgrim’s Department Store, 172, 172–73
Miller, Kenneth Hayes, 38, 50
Miller, Leslie, 203
Milwaukee-Downer College, 191
Miró, Joan, 9, 11, 36, 37, 246n87
Mitchell, Joan, 207
modernism, 1, 10–11, 16–22, 27, 28
Atelier 17 and, 30
color printmaking and, 154
Countey and, 53
Dehner and, 38
depoliticization of, 161
engraving and etching and, 91, 137, 141–42
flatness in, 156
Greenberg’s study of, 94
market for modernist prints, 172–78
painting as foremost art form in, 151
political use of prints, in Cold War, 187–88
prints as popular choice in, 171
Ryan’s influence recognized as pivotal in, 120
women’s exclusion from, 35, 80, 104. See also marginalization of women artists
Modern Man discourse, 96–97
Modern Woman archetype, 55, 59–60, 89, 247n112
MoMA. See Museum of Modern Art
Mongan, Elizabeth, 152, 262n22
monoprints, 16, 116
Morgan, Norma, 54, 231–32, 247n109
Turning Forms, 232
Morrison Becker, Jean, 200, 232–33
Crystalline Head, 232
Moser, Joann, 15, 16, 241n47, 247n108
Motherwell, Robert, 6, 142–43
Mourlot, Fernand, 33
Mrs. Gascoigne’s Handbook on Turning, 249n32
Mueller, Henriette Waters, 200
Municipal Museum of the Hague (Gemeentemuseum Den Haag), 186
Murphy, Gerald, 78
Museum of Living Art: Mason’s solo show (1942), 52
Museum of Modern Art (MoMA): Bourgeois retrospective (2017), 266n6
Department of Circulating Exhibitions, 188, 264n75
Fantastic Art, Dada and Surrealism (1936), 69
Nevelson’s donation of plates to, 253n38
New Directions in Gravure: Hayter and Studio 17
(1944), 11, 42, 186
print room, opening of, 176
museums: print acquisitions by, 169, 171, 174, 176–78
women’s role in staffs of, 139. See also names of specific institutions
Nachmias, Stewart, 257n28
National Academy of Design, 262n25
National Gallery of Art (Washington, D.C.), 152
National Museum of American History, 255n87
National Serigraph Society, 269n37
naturalism, 44
neatness and control: Abstract Expressionism vs., 149
Citron on spectrum of artistic spontaneity to disciplined control, 149–50
Hayter’s vacillation between control and spontaneity, 148
messiness of 1940s and 1950s experimental prints, 177
messiness of Helen Frankenthaler’s stained canvases vs. Pollock’s control over paint-flinging process, 144
messiness of Nevelson, 3, 5, 77, 77–78, 153–54, 249n36, 250n45
women experimenting with printmaking techniques and, 21–22, 146
women praised for technical control, 147. See also decorative arts, as feminine domain; fingerprints or thumbprints
inking Negri, Nina, 36, 37, 191
Nemser, Cindy, 209
neo-dada movement, 7, 21, 94, 110, 120, 222
Neustadt, Barbara, 18, 89, 201
Nevelson, Louise, 125–29
Ancient Games and Ancient Places exhibition (1955), 5
background of, 128, 255n105, 258n49, 260n89
Bourgeois and, 180
burin use vs. kitchen tools, use of, 99, 101–2, 253nn36–37
color printmaking and, 153
compared to Day, 165
compared to Fuller, 128
confident persona of, 3, 72, 78
Dehner and, 101, 180, 202, 209, 251n75
Dienes and, 181
early print works at Atelier 17 (1948, 1952–1954), 1–5, 101–2, 154, 239nn3–4, 239n7, 239n10, 249n35, 253n38
fate of Atelier 17 prints by, 5
feminism and, 17–18, 19, 207, 209, 267n32
Grippe and, 77–78, 126, 128, 253n36
Hayter and, 13, 99
individuality and unorthodox methods of, 135, 153–54
influence of, 7, 209
“large” etchings and associated expenses of, 164, 260nn83–84
Mayan stelae and royal figures, influence of, 128–29, 154, 164, 256n110, 260n87
messiness and inky fingerprints of, 3, 5, 77, 77–78, 153–54, 249n36, 250n45
not exhibitor in Atelier 17’s shows, 189
overcoming gender boundaries, 21, 72, 135, 153
psychological states expressed in her prints, 128
reaction of Atelier 17 members to, 3, 77–78, 125–26, 128
return to Atelier 17 (1954), 12, 128
saving and collecting of materials for reuse in art of, 119
soft ground etching and, 125–26, 128
transition from printmaking to sculpture, 5, 21, 78, 81, 135, 180
WPA-FAP role of, 29
works by: Ancient Garden, 258n48
Black Majesty, 5, 6
Bride of the Black Moon (sculpture and poem), 5, 164
Jungle Figures III, 153–54, 155, 164, 258n48
Magic Garden, 46, 77, 99, 154
Majesty, 125–26, 127, 129
Moon Goddess (first proof), 1–3, 2
Moon Goddess (fourth impression), 3, 4
Moon Goddess I, 2, 3
Moon Goddess II, 3, 3
Moving-Static-Moving-Figures, 5, 5
Royalty No. 2, 76, 77
Solid Reflections, 258n48
New Jersey State Museum, Day retrospective (1986), 82
Newman, Barnett, 120, 142
New School for Social Research: Atelier 17’s affiliation with, 8, 9–11, 21, 26, 39–43, 63, 91, 112, 240n21, 245n50, 245n55
Atelier 17’s termination of association with, 43, 240n28
Citron’s solo show at, 131
equal admissions policy of, 21, 26, 39, 40–43
expatriates from Europe and, 47–49
Pearson’s philosophy’s influence on, 44
University in Exile, 49, 240n20
women’s access to avant-garde ideas and practices through, 62
A New Way of Gravure (film 1951), 12, 66, 66–67, 68, 75, 79, 97, 108, 164, 240n35. See also Paley, Jess
New Ways of Gravure (Hayter as author), 79, 79, 104, 240n27
New Woman archetype, 55, 247n112
New York School: Atelier 17 and, 1, 10, 11, 49
Citron and, 135, 153, 256n117
color printmaking and, 152, 154
marginalization of women artists in, 17, 30, 116, 138–39, 144
masculine tropes of, 97
printmakers and, 20, 95, 145
Ryan and, 157
sexism and, 60
soft ground etching and, 126
sugar lift etching and, 104
women printmakers distinguishing their work in, 21
Nicolaïdes, Kimon, 38
Nin, Anaïs, 13
Nochlin, Linda: “Why Have There Been No Great Female Artists?,” 167
Noguchi, Isamu, 11
Northwest Printmakers, 185, 262n25
Olds, Elizabeth, 29
Onslow Ford, Gordon, 49
Oosting, Jeanne Bieruma: Coquillages, 36, 36
Oppenheim, Meret, 68–69, 69, 249n22
Object, 69
originality, definition of, 176–77
Orozco, José Clemente, 49
Paalen, Wolfgang, 36
Pace Gallery (New York), 128
Painter-Printmakers, 192, 265n101
Paley, Jess, 14, 67. See also A New Way of Gravure
Palmer Museum of Art (Pennsylvania State University), 266n2
Parker, Dorothy, 159, 259n63
Parker, Rozsika, 18
The Subversive Stitch, 110, 112
Parker, Theresa, 192
Parsons, Betty, 120, 255n88. See also Betty Parsons Gallery
Pattern and Decoration, 7, 110
Paulson Bott Press, 203
Pearson, Ralph: The New Art Education, 44
Les Peintres-Graveurs Indépendants, 34
Pennell, Joseph, 31
Pereira, Irene Rice, 181
Peretz Johnnes Gallery and Bookshop (New York), 191
Perry, Gill, 37
Peter Deitsch Gallery: Unique
Impressions exhibition (1960), 194
Peterdi, Gabor, 102, 197
Philadelphia Museum of Art, 175, 183
Philadelphia Print Club (PPC), 183, 262n25, 263nn62–64
Phillips, Helen (second wife of Hayter), 9, 14, 14, 42, 178, 186, 233–34, 239n19, 263n37
Figure in Space, 233
papers of, 241n53, 263n37, 271n90
Phillips, Patricia, 234
Ecstatic Dance, 234
physicality of printmaking, 21, 58, 60, 65, 68, 79–80, 83–84, 99, 125
Picasso, Pablo, 25, 33, 34, 36, 37, 111, 266n7
Pinacotheca Gallery (New York), 42, 112, 169, 254n64
Pissarro, Camille, 244n23
planographic printmaking techniques, 156
Pleiades Press, 201. See also Neustadt, Barbara
Poleskie, Stephen, 266n3. See also Chiron Press
Pollock, Griselda, 18
Pollock, Jackson, 6, 10, 52, 144, 240n25
Pollock-Krasner House and Study Center exhibition and symposium (1993), 16, 25, 241nn51–52
Pope, Annemarie, 185–86
Porter, Franklin, 86
Portland Art Museum, 185
Possibilities (magazine), 138
PPC. See Philadelphia Print Club
Pratt Graphic Art Center, 248n12
presses. See Atelier 17 (New York)
physicality of printmaking Preston, Stuart, 100, 101, 131
print annuals. See exhibitions and print annuals
Print Centre (London), 180
Print Collector’s Quarterly, 190–91
Print Council of America, 262n22
What Is an Original Print?, 177
printing presses, 66–72, 68, 248n20, 249n31
Printmakers (New York group), 192
Printmakers of Southern California, 185
printmaking trade and studios, 30
Abstract Expressionists and, 160–61, 256n5, 259n69
à la poupée process, 152
artists’ reliance on master printers, 33
collaborative shops, 202
commercial practices, 31, 171, 177
connections with sculpture, 80–89
edition size, 177
establishment of printmaking societies in late nineteenth and early twentieth centuries, 152
hand-wiping, 72–73, 250n44
Hayter learning trade, 31–33
“imp,” use of notation, 262n33
as manual craft or fine art, 20, 91, 94–96, 107, 141, 251–52n9
manual on printmaking written by women artists, 71–72, 249n32
midcentury transition in, 140–42, 152
organizations and groups, formation of, 191–95
oversaturation of market in early 1950s, 177
politics and revolutionary movements and, 141
printing press and women artists, 66–72
reproductions vs. originals, 156, 171, 176–77, 202
spontaneity in, 142–44, 147–48
technical aspects of, 20
traditionally male work, 33, 63, 68
transformative effect of printmaking groups, 188–94
on unique nature of Atelier 17, 6–7, 43–44, 63
women’s involvement in, 91–94, 250n39. See also Atelier 17 (generally); Atelier 17 (New York); Atelier 17 (Paris); color printmaking; inking; neatness and control; physicality of printmaking
women-founded printmaking studios proto-feminism, 7, 203, 204, 267n20
psychoanalysis, 20, 50, 81, 82, 199, 204
Pyramid Atlantic, Inc., 203
Quintero, Victoria Lucía, 43, 186
Quiriguá stelae (Mayan civilization), 164, 260nn87–88
Racz, André, 11, 14, 145
Raftery, Andrew, 266n1
Rapée, Joellen Hall (Peet Todd), 181
Rathsman, Siri, 36, 37
Rattner, Abraham, 11
Rauschenberg, Robert, 120
Read, Herbert, 191
realism, 36, 51, 52
recycling of materials, 118–20
relief printing, 193
Ritter, Chris, 190. See also Laurel Gallery
Rivera, Diego, 164
Rockwell, Norman: Rosie the Riveter, 84
Roesch, Kurt, 11, 41, 245n58. See also Sarah Lawrence College
Roos, Bonnie, 264n72
Rose Fried Gallery, 254n64
Rosenberg, Harold, 126, 166, 257n16
“The American Action Painters” (article), 143
Rosenborg, Ralph, 42
Rosenthal, Rachel, 172, 181, 207
Rosenwald Collection, 152
Rosie the Riveter, 59, 84, 249n23
Rothko, Mark, 6, 142
Rouault, Georges, 253n42
Rutgers Center for Innovative Print and Paper (now Brodsky Center), 203
Ryan, Anne: in Atelier 17’s exhibitions, 15, 189
awards received and institutions owning works by, 182
Brooklyn Museum and curator Una Johnson, role of, 175, 182
career of, 41–42, 119–20, 245n62, 254nn84–85
collaged fiber and, 111–16, 255n88
critical reception of, 92, 101, 116, 120
Day and, 178
death of, 265n104
domestic vs. artist role of, 62, 70, 249n26
14 Painter-Printmakers and, 192
Fuller and, 27, 55, 112
Hayter and, 7, 42, 113, 174, 245n65
individuality and personal vision of, 135
in international traveling exhibitions, 186
marketing and selling by, 174–75, 207
Marquié Gallery (New York) woodcut exhibitions, 156–57
Mason and, 70, 249n29
Milgrim’s Department Store exhibition of prints by, 172, 172–73
in MoMA exhibition (1944), 11, 186
overcoming gender boundaries, 135
peer-to-peer networking of, 178–79
on power of prints’ mobility, 171
saving and collecting of materials for reuse in art of, 118–20
technique and woodcuts by, 156–57, 182, 259n58
in The Tiger’s Eye article (1949), 137, 139
in Vanguard membership, 192
in Willard Gallery show (1945), 190
works by: Abstract III, 173
Abstraction, 92, 93
The Captive, 173
Collage #27 (The Flower), 115, 115
Fantasia, 179, 179, 182
In a Room, 173
In the Meadow, 114, 114–16, 254n68
Jugglers, 179
King and Queen (Chartres), 173
Lost Hills (poetry collection), 119
Number 319, 116, 117
Obelisque, 71
Primavera, 173
The Spiders, 113, 113–14, 116
Tenements, 178
Untitled (1940), 41, 42
The Wine Glass, 187, 187
woodcuts in Milgrim’s Department Store window, 172, 172–73
XXXIV, 157, 157
Saab, A. Joan, 177
SAGA. See Society of American Graphic Artists
Salon d’Automne, 35
Saltzman, Lisa, 17, 144
San Francisco Museum of Modern Art, 185
Sarah Lawrence College, 41, 220, 232, 234, 257n58, 271n84
Saunier, Hector, 13
Sawin, Martica, 116
Schaefer, Bertha, 195. See also Bertha Schaefer Gallery
Schanker, Louis, 53, 137–38, 145, 257n21
Schapiro, Meyer, 126
Schapiro, Miriam, 17, 122, 172, 204, 205–7, 206, 234
Anonymous Was a Woman IV, 125, 125, 128
“Female Imagery” (article), 267n19
femmage, 21, 110–11, 118
“Femmage” (article), 253n60
The Last Judgment, 234
School of Paris, 30, 35
Schrag, Ilse, 14, 14
Schrag, Karl, 12, 14, 14, 181, 182, 240n32
Schwitters, Kurt, 112
screen printing, 29
sculpture: Bourgeois and, 21, 83, 83, 135, 172
Day and, 80–82, 208
Dehner and, 21, 81, 86, 87–89, 88, 208
Engler and, 54
female sculptors Seeking help from male colleagues, 258n34
as male realm, 82, 84, 139
Nevelson and, 5, 21, 78, 81, 180
overcoming gender boundaries in, 21, 80–82
postwar developments in, 7
symbiotic relationship between printmaking and artistic progression to, 80–89
women of Atelier 17 and, 17, 135
Sculpture Center, 87
Seattle Art Museum, 185
Seckler, Dorothy, 124
Seidler, Doris, 57, 72, 128, 180, 208, 235
Improbable Hound/Improbable Dog, 98, 98
Luna Composition No. 3 City, 235
sexism, 18–20, 22
Atelier 17 occupying unique environment for its time, 28
Canaday and, 208–9
in critical reviews, 131, 208–9
fiber art and, 125
forcing conformity to social norms on women artists, 146–47
Hayter and, 13–15, 104
New School’s opposition to, 39
in New York, 43, 46, 49, 55, 245n70
in Paris, 30, 31, 35, 36
reaction of women artists to, 167, 172, 195, 206
Sternberg and, 29, 184–85
surrealism and, 48
women-owned and -managed enterprises facing gender discrimination, 203. See also cultural norms and gender roles
marginalization of women artists signaling theory, 248n5
Silverio, Jeannette, 203
Simmelink, Doris, 203
Simmelink Sukimoto, 203
simultaneous color printing, 7, 15, 152, 153
Sironi, Emiliano, 5
size of pieces: New York’s Atelier 17 members and, 138
woodblock murals, 137–38. See also “large” prints
Slivka, David, 11, 87
Sloan, John: Connoisseurs of Prints, 141, 142
Smith, David, 37–39, 38, 84, 86, 147
Smith, Dido, 239n7
Smith, Kiki, 128 social norms for women. See cultural norms and gender roles; egalitarianism and women artists
Société des Artistes Indépendants, 35
Société des Femmes Artistes Modernes, 35
Society of American Etchers (SAE), 152, 262n25
annual exhibition (1945), 145, 158
name change of, 176
Society of American Etchers, Gravers, Lithographers and Woodcutters, 176
Society of American Graphic Artists (SAGA), 176, 180, 182, 259n73, 263n56
soft ground etching, 7, 21, 53, 92–94, 96, 103, 105–10, 253n54
Citron and, 129–31
collaged fiber and, 110–18
critical disregard for women’s works, 167
femmage and, 111–12, 118, 158
Fuller and creation of original textiles and, 120–25
gender boundaries and social norms in terms of women artists creating, 126, 128, 252n11
Hayter and, 108, 113, 116, 119, 254n83
male artists employing, 254n72
Nevelson and, 5, 125–29
saving and collecting of materials for reuse in art of, 118–20
solidarity among women artists, 17, 22, 47, 55, 170, 172, 180, 188, 195, 207
mentoring, 202, 205
peer-to-peer networking, 178–81, 201, 207–8, 262–63n37
training programs and, 201–2
transformative effect of printmaking groups, 188–94. See also women-founded galleries
women-founded printmaking studios Solodkin, Judith, 202
SOLO Impression, 199, 202
Soyer, Moses, 50
Soyer, Raphael, 50
Spence, Michael, 248n5 spontaneity. See creativity and innovation
neatness and control Springfield Art Museum, 185
Stable Gallery show (New York 1953), 192, 194. See also Ward, Eleanor
The Stamp of Impulse: Abstract Expressionist Prints (exhibition 2001), 16
Stein, Linda, 205
Stephens College (Missouri), 178
stereotypes. See cultural norms and gender roles
Sternberg, Harry, 29, 45–46, 184–85, 246n85, 251n9, 252n19
Stevens-Nelson Paper Corporation, 163, 259n76
Stijnman, Ad, 250n39
Stokes, Adrian, 82
stop-out varnish, 1, 5, 46, 86, 100, 102, 108, 218, 253n44
Studio Graphics Workshop (Woodstock, New York), 201
Subjects of the Artists School, 142
Sukimoto, Chris, 203
Sumerians cylindrical seals, 86, 251n72
surrealism: Abstract Expressionism and, 240n24
at Atelier 17, both Paris and New York studios, 6, 9–10, 20
Bourgeois and, 48, 246n87
expatriates from Europe in New York City and, 10, 27, 47–49
Gelb and, 193
Hayter and, 9, 20, 36, 41, 49
marginalization of women artists in, 36, 244n35
New York’s Atelier 17 atmosphere and, 21, 68–69
Paris’s Atelier 17 and, 30, 36–37
School of Paris and, 30
sexism and, 48
Sweeney, James Johnson, 191
Syracuse University, 193
Szenes, Arpad, 11
Tamarind Lithography Workshop (Los Angeles), 89, 180, 202, 209, 263n47
Tamayo, Rufino, 143
Tanguy, Yves, 9, 36, 37
Tate Archive (London), 241n53
Tate Gallery, 209, 255n89
“technique for technique’s sake,” 46, 141, 144, 160, 197, 257n22. See also neatness and control
Thurn, Ernest, 25, 242n2
The Tiger’s Eye (magazine), 137, 138, 139, 141–42, 145, 156, 256n1
Tillim, Sidney, 135
Time magazine on Feminanities exhibition (1935), 51
Tobey, Mark, 124
Todd, Ruthven, 96
tools: biting-out technique, 190
cultural norms governing women’s use of, 21, 99, 135, 149, 252n22
women artists’ choice of, 21, 99, 102–5, 135, 147, 153, 252n22, 253n42
in woodblock work, 137–38. See also burin engraving
Tredennick, Dorothy, 179
Trevelyan, Julian, 11
Turner, John B., 193
Universal Limited Art Editions (ULAE), 89, 201–2
University of Alabama, 185
University of Iowa’s printmaking program, 17, 206, 206, 207. See also Lasansky, Mauricio
University of Michigan, 185
University of Wisconsin–Madison’s Elvehjem Art Center (now Chazen Museum of Art) exhibition (1977), 15
Urban, Joseph, 40
U.S. Information Agency (USIA), circulating print collection for U.S. embassies, 188, 264n84
U.S. Information Service, Printmakers (videorecording), 166
Valladares, Juan, 13
Van Deb Editions, 203
Vanguard (printmaking organization), 192, 265n100
Vieillard, Roger, 11, 37
Village Art Center (New York), 253n50
Fuller solo show (1946), 105
Graphic Arts Show (1946), 105, 118 viscosity printing. See simultaneous color printing
Von Lintel, Amy, 264n72
Von Moschzisker, Bertha, 183. See also Philadelphia Print Club
von Wicht, John, 192
Vytlacil, Vaclav, 28, 48, 208
Wald, Sylvia, 263n54
Walker Art Center, 191
Ward, Eleanor, 193
Wayne, June, 89, 180, 202
Weber, Sybilla Mittell, 263n56
Webril paper, 163, 259–60n79
Weill, Berthe, 35
Wellons Gallery (New York), 116
Wertheimer, Max, 8
West, Pennerton, 190, 192, 235–36, 265n95
On Such a Night, 235
West East Bag (WEB), 206
Whedon, Aida, 201
Whitney Museum of American Art, 46, 209
Wienholt, Anne, 13–14, 236, 265n95
Wind, Bird and Other Northern Fauna, 236
Wildwood Press, 203
Wilker, Jenny Squires, 244n25
Willard, Marian, 190
Willard Gallery (New York), 92, 96, 148, 190, 208
Wilson, Laurie, 255n105
Winkler, Betty, 203
Winnipeg Art Gallery, 244n36
Wisotzki, Paula, 18
Wittenborn and Company (New York), 86, 147
Wittenborn and Schultz, 191
Womanspace (all-women cooperative gallery), 178, 207
women artists: Abstract Expressionism considered off-limits to, 99
agency of, 65, 69, 72, 89, 149, 173
Atelier 17 female members, list of (Appendix A), 212–13
biographies of selected artists, 215–36
Brooklyn Museum and curator Una Johnson, role of, 181–82
changing social norms about women’s work, 59–60
collegial support for each other, 7, 17, 22–23, 47, 178–81
critics’ reaction to women modernist printmakers, 6, 20, 21, 52, 91, 105, 111, 139, 142, 144, 158
diverse backgrounds of, 54, 197–98
as entrepreneurs, 201
equal pay for equal work, 29
flow of ideas between men and women at Atelier 17, 46
gender-neutral names chosen by, 261n92
gender parity at Atelier 17, 6, 11–12, 197
gender theory and, 18
generational differences among, 55
Hayter and, 13–15, 19, 91
Latin American, 186, 190
leadership role within printmaking community, 22
lithography training for, 202
marriages and couple relationships of, 37, 84–85, 244n38
New York’s Atelier 17 as “home” for, 61–65
as nonconforming women in society, 65
photographs of, 268n36
in postwar modernism, 21, 60
printing press and, 66–72
printmaking providing more welcoming home than painting or sculpture for, 20, 22
professional prospects at midcentury, 28–30
SAGA participation of, 182–83
writing printmaking manual, 71–72, 249n32. See also egalitarianism and women artists; marginalization of women artists
specific art genres, artists by name, and topics of sexism, feminism, and cultural norms
women-founded galleries, 178, 191, 195, 207, 267n26
women-founded printmaking studios, 18, 41, 61, 72, 78, 89, 185, 198, 200–201, 203, 251n76, 266n11
women’s empowerment, 19–20, 72, 94, 101, 159, 198
woodblocks and woodcuts, 1, 7, 21, 29, 53, 70, 120, 137–40, 162–64, 166, 230, 257n21
Works Progress Administration: Federal Art Project (WPA-FAP), 29, 176
Graphic Arts Division, 10, 29–30, 141, 160, 243nn12–13, 266–67n16
women employed in sewing rooms by, 254n79
World War I, 34–35
World War II, 9, 47–48, 97
paper importing during, 259n76
saving and collecting of materials for reuse in art during, 118–19
women workers in, 59, 62, 69, 73, 84
Wormser Gekiere, Madeleine, 265n95
Wosk, Julie, 66, 249n32
Yaddo artists’ community, 181
Yama Prints, 203
Yarrow, Catherine, 180, 186, 263n49
Young, Arthur R., 25, 27
Yunkers, Adja, 137
Zabel, Barbara, 78
Zañartu, Enrique, 63, 63
Zigrosser, Carl, 177, 183–84, 191, 262n22
Zorach, William, 37–38
Zygote Press, 203