Thomas Moran</a> and <a target="_blank" href=https://www.mutualart.com/Exhibition/A-Treasury-of-American-Prints-from-the-G/"/Artist/Charles-Banks-Wilson/DCB053C1CE05F7D5">Charles Banks Wilson</a>, produced original prints, working directly on various surfaces – metal plates, stone slabs, or blocks of wood – from which their images were printed. Both creative and mechanical, printmaking combines an artist’s unique vision and concept with his skill at manipulating the physical properties of a particular method. <br><br>
Traditionally used in book illustration as a form of communication, the print became an art form in itself when creative artists began to explore the various methods. As they became captivated with the processes, tools, and the promise of multiples, a new art form was born. <br><br>
"The unique characteristics of their tools and techniques reflect their individually expressive styles," said Carole Klein, associate curator of art for Gilcrease Museum.<br><br>
Printmaking blossomed in the early part of the 20th century, particularly during the Great Depression when artists needed a way to earn money in a deflated economy. Images printed on paper provided original art that was affordable to a larger number of people, Klein said.<br><br>
Though printmaking produces multiples of an image, variations in ink application, plate wiping, and pressure applied during printing give slightly different results in every print. <br><br>
"The unpredictable nature of this interaction is part of the charm of an original print," Klein continued.<br><br>
<em>A Treasury of American Prints from the Gilcrease Collection</em> showcases three methods of printmaking – relief, intaglio, and planographic. <br><br>
Relief printing utilizes a block of material, such as wood. What is not to be printed is cut away, leaving raised areas to receive the ink as it is applied with a roller. Some types of relief prints that will be represented are the woodcut, wood engraving, and linoleum block print. <br><br>
Intaglio printing involves the use of a metal plate such as copper. The ink goes beneath the plate surface into lines that have been inscribed or etched. Types of intaglio prints in the exhibition include etching, drypoint, and some prints that combine these with other techniques such as aquatint. <br><br>
Planographic printing is done from a surface that remains flat, but parts are treated so only the image receives ink. The best-known type of planographic printing is the stone lithograph, often done on a slab of Bavarian limestone, such as the lithographs created by Oklahoma<a target="_blank" href=https://www.mutualart.com/Exhibition/A-Treasury-of-American-Prints-from-the-G/"/Artist/Charles-Banks-Wilson/DCB053C1CE05F7D5"> artist Charles Banks Wilson</a>.<br><br>
The prints depict a diversity of subjects. Distinctly American landforms emerge in the rich landscapes of Thomas and Mary Nimmo Moran as well as in the Midwestern pastoral scenes of the Regionalists <a target="_blank" href=https://www.mutualart.com/Exhibition/A-Treasury-of-American-Prints-from-the-G/"/Artist/Thomas-Hart-Benton/2BB399F14C8734B3">Thomas Hart Benton</a> and <a target="_blank" href=https://www.mutualart.com/Exhibition/A-Treasury-of-American-Prints-from-the-G/"/Artist/Grant-Wood/E3997EE5575E9D5E">Grant Wood</a>. <a target="_blank" href=https://www.mutualart.com/Exhibition/A-Treasury-of-American-Prints-from-the-G/"/Artist/Alice-Gene-Kloss/84D92D36142F415D">Gene Kloss</a> captured rare scenes of New Mexico’s Pueblo Indians, while <a target="_blank" href=https://www.mutualart.com/Exhibition/A-Treasury-of-American-Prints-from-the-G/"/Artist/Peter-Moran/578A9F8030DDE691">Peter Moran</a> revealed his love of creatures in a pastoral scene with cows. <br><br>
<em>A Treasury of American Prints from the Gilcrease Collection</em> will be on display in Gallery 4 through March 13 at Gilcrease Museum.<br>" />
A Treasury of American Prints from the Gilcrease Collection
Dec 04, 2010 - Mar 13, 2011
The art of the late 19th and early 20th century American printmakers will enjoy the spotlight at Gilcrease Museum now through mid-March 2011.
A Treasury of American Prints from the Gilcrease Collection, which opened Dec. 4, presents the art of 31 printmakers. The artists, including Thomas Moran and Charles Banks Wilson, produced original prints, working directly on various surfaces – metal plates, stone slabs, or blocks of wood – from which their images were printed. Both creative and mechanical, printmaking combines an artist’s unique vision and concept with his skill at manipulating the physical properties of a particular method.
Traditionally used in book illustration as a form of communication, the print became an art form in itself when creative artists began to explore the various methods. As they became captivated with the processes, tools, and the promise of multiples, a new art form was born.
"The unique characteristics of their tools and techniques reflect their individually expressive styles," said Carole Klein, associate curator of art for Gilcrease Museum.
Printmaking blossomed in the early part of the 20th century, particularly during the Great Depression when artists needed a way to earn money in a deflated economy. Images printed on paper provided original art that was affordable to a larger number of people, Klein said.
Though printmaking produces multiples of an image, variations in ink application, plate wiping, and pressure applied during printing give slightly different results in every print.
"The unpredictable nature of this interaction is part of the charm of an original print," Klein continued.
A Treasury of American Prints from the Gilcrease Collection showcases three methods of printmaking – relief, intaglio, and planographic.
Relief printing utilizes a block of material, such as wood. What is not to be printed is cut away, leaving raised areas to receive the ink as it is applied with a roller. Some types of relief prints that will be represented are the woodcut, wood engraving, and linoleum block print.
Intaglio printing involves the use of a metal plate such as copper. The ink goes beneath the plate surface into lines that have been inscribed or etched. Types of intaglio prints in the exhibition include etching, drypoint, and some prints that combine these with other techniques such as aquatint.
Planographic printing is done from a surface that remains flat, but parts are treated so only the image receives ink. The best-known type of planographic printing is the stone lithograph, often done on a slab of Bavarian limestone, such as the lithographs created by Oklahoma artist Charles Banks Wilson.
The prints depict a diversity of subjects. Distinctly American landforms emerge in the rich landscapes of Thomas and Mary Nimmo Moran as well as in the Midwestern pastoral scenes of the Regionalists Thomas Hart Benton and Grant Wood. Gene Kloss captured rare scenes of New Mexico’s Pueblo Indians, while Peter Moran revealed his love of creatures in a pastoral scene with cows.
A Treasury of American Prints from the Gilcrease Collection will be on display in Gallery 4 through March 13 at Gilcrease Museum.
A Treasury of American Prints from the Gilcrease Collection, which opened Dec. 4, presents the art of 31 printmakers. The artists, including Thomas Moran and Charles Banks Wilson, produced original prints, working directly on various surfaces – metal plates, stone slabs, or blocks of wood – from which their images were printed. Both creative and mechanical, printmaking combines an artist’s unique vision and concept with his skill at manipulating the physical properties of a particular method.
Traditionally used in book illustration as a form of communication, the print became an art form in itself when creative artists began to explore the various methods. As they became captivated with the processes, tools, and the promise of multiples, a new art form was born.
"The unique characteristics of their tools and techniques reflect their individually expressive styles," said Carole Klein, associate curator of art for Gilcrease Museum.
Printmaking blossomed in the early part of the 20th century, particularly during the Great Depression when artists needed a way to earn money in a deflated economy. Images printed on paper provided original art that was affordable to a larger number of people, Klein said.
Though printmaking produces multiples of an image, variations in ink application, plate wiping, and pressure applied during printing give slightly different results in every print.
"The unpredictable nature of this interaction is part of the charm of an original print," Klein continued.
A Treasury of American Prints from the Gilcrease Collection showcases three methods of printmaking – relief, intaglio, and planographic.
Relief printing utilizes a block of material, such as wood. What is not to be printed is cut away, leaving raised areas to receive the ink as it is applied with a roller. Some types of relief prints that will be represented are the woodcut, wood engraving, and linoleum block print.
Intaglio printing involves the use of a metal plate such as copper. The ink goes beneath the plate surface into lines that have been inscribed or etched. Types of intaglio prints in the exhibition include etching, drypoint, and some prints that combine these with other techniques such as aquatint.
Planographic printing is done from a surface that remains flat, but parts are treated so only the image receives ink. The best-known type of planographic printing is the stone lithograph, often done on a slab of Bavarian limestone, such as the lithographs created by Oklahoma artist Charles Banks Wilson.
The prints depict a diversity of subjects. Distinctly American landforms emerge in the rich landscapes of Thomas and Mary Nimmo Moran as well as in the Midwestern pastoral scenes of the Regionalists Thomas Hart Benton and Grant Wood. Gene Kloss captured rare scenes of New Mexico’s Pueblo Indians, while Peter Moran revealed his love of creatures in a pastoral scene with cows.
A Treasury of American Prints from the Gilcrease Collection will be on display in Gallery 4 through March 13 at Gilcrease Museum.
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The art of the late 19th and early 20th century American printmakers will enjoy the spotlight at Gilcrease Museum now through mid-March 2011.
A Treasury of American Prints from the Gilcrease Collection, which opened Dec. 4, presents the art of 31 printmakers. The artists, including Thomas Moran and Charles Banks Wilson, produced original prints, working directly on various surfaces – metal plates, stone slabs, or blocks of wood – from which their images were printed. Both creative and mechanical, printmaking combines an artist’s unique vision and concept with his skill at manipulating the physical properties of a particular method.
Traditionally used in book illustration as a form of communication, the print became an art form in itself when creative artists began to explore the various methods. As they became captivated with the processes, tools, and the promise of multiples, a new art form was born.
"The unique characteristics of their tools and techniques reflect their individually expressive styles," said Carole Klein, associate curator of art for Gilcrease Museum.
Printmaking blossomed in the early part of the 20th century, particularly during the Great Depression when artists needed a way to earn money in a deflated economy. Images printed on paper provided original art that was affordable to a larger number of people, Klein said.
Though printmaking produces multiples of an image, variations in ink application, plate wiping, and pressure applied during printing give slightly different results in every print.
"The unpredictable nature of this interaction is part of the charm of an original print," Klein continued.
A Treasury of American Prints from the Gilcrease Collection showcases three methods of printmaking – relief, intaglio, and planographic.
Relief printing utilizes a block of material, such as wood. What is not to be printed is cut away, leaving raised areas to receive the ink as it is applied with a roller. Some types of relief prints that will be represented are the woodcut, wood engraving, and linoleum block print.
Intaglio printing involves the use of a metal plate such as copper. The ink goes beneath the plate surface into lines that have been inscribed or etched. Types of intaglio prints in the exhibition include etching, drypoint, and some prints that combine these with other techniques such as aquatint.
Planographic printing is done from a surface that remains flat, but parts are treated so only the image receives ink. The best-known type of planographic printing is the stone lithograph, often done on a slab of Bavarian limestone, such as the lithographs created by Oklahoma artist Charles Banks Wilson.
The prints depict a diversity of subjects. Distinctly American landforms emerge in the rich landscapes of Thomas and Mary Nimmo Moran as well as in the Midwestern pastoral scenes of the Regionalists Thomas Hart Benton and Grant Wood. Gene Kloss captured rare scenes of New Mexico’s Pueblo Indians, while Peter Moran revealed his love of creatures in a pastoral scene with cows.
A Treasury of American Prints from the Gilcrease Collection will be on display in Gallery 4 through March 13 at Gilcrease Museum.
A Treasury of American Prints from the Gilcrease Collection, which opened Dec. 4, presents the art of 31 printmakers. The artists, including Thomas Moran and Charles Banks Wilson, produced original prints, working directly on various surfaces – metal plates, stone slabs, or blocks of wood – from which their images were printed. Both creative and mechanical, printmaking combines an artist’s unique vision and concept with his skill at manipulating the physical properties of a particular method.
Traditionally used in book illustration as a form of communication, the print became an art form in itself when creative artists began to explore the various methods. As they became captivated with the processes, tools, and the promise of multiples, a new art form was born.
"The unique characteristics of their tools and techniques reflect their individually expressive styles," said Carole Klein, associate curator of art for Gilcrease Museum.
Printmaking blossomed in the early part of the 20th century, particularly during the Great Depression when artists needed a way to earn money in a deflated economy. Images printed on paper provided original art that was affordable to a larger number of people, Klein said.
Though printmaking produces multiples of an image, variations in ink application, plate wiping, and pressure applied during printing give slightly different results in every print.
"The unpredictable nature of this interaction is part of the charm of an original print," Klein continued.
A Treasury of American Prints from the Gilcrease Collection showcases three methods of printmaking – relief, intaglio, and planographic.
Relief printing utilizes a block of material, such as wood. What is not to be printed is cut away, leaving raised areas to receive the ink as it is applied with a roller. Some types of relief prints that will be represented are the woodcut, wood engraving, and linoleum block print.
Intaglio printing involves the use of a metal plate such as copper. The ink goes beneath the plate surface into lines that have been inscribed or etched. Types of intaglio prints in the exhibition include etching, drypoint, and some prints that combine these with other techniques such as aquatint.
Planographic printing is done from a surface that remains flat, but parts are treated so only the image receives ink. The best-known type of planographic printing is the stone lithograph, often done on a slab of Bavarian limestone, such as the lithographs created by Oklahoma artist Charles Banks Wilson.
The prints depict a diversity of subjects. Distinctly American landforms emerge in the rich landscapes of Thomas and Mary Nimmo Moran as well as in the Midwestern pastoral scenes of the Regionalists Thomas Hart Benton and Grant Wood. Gene Kloss captured rare scenes of New Mexico’s Pueblo Indians, while Peter Moran revealed his love of creatures in a pastoral scene with cows.
A Treasury of American Prints from the Gilcrease Collection will be on display in Gallery 4 through March 13 at Gilcrease Museum.
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1400 Gilcrease Museum Road Tulsa, OK, USA 74127
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