Following
his high school graduation in 1940, Blackburn attended the
Art Students League in New York on scholarship until 1943.
There he worked with painter and printmaker Will Barnet,
who became a life-long friend. For four years, Blackburn
freelanced as a graphic artist for institutions including
the philanthropic Harmon Foundation, the China Institute
of America, and Associated American Artists, while his vision
of a career in printmaking developed. By late 1947, he had
acquired his own lithographic press. In 1948, he opened
his own studio in Chelsea, printing for artists and encouraging
his friends to experiment in lithography. In 1950, when
the innovative Parisian printmaking studio, Atelier
17 returned to Europe after a war-time hiatus in New
York, Blackburn installed an intaglio press at his shop
a few blocks away. Between 1951 and 1952, he worked with
Barnet on a groundbreaking suite of color lithographs that
were featured in the contemporary art journal ARTnews.
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![Image: See Caption Below](images/bla06-02416r-th.jpg)
Charles White (1918-1979)
We Have Been Believers,
1949
Lithograph
Prints and Photographs
Division (6)
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Charles White studied at
the Art Institute of Chicago, Art Students League in New
York, and Taller de Gràfica Popular in Mexico. He
also taught at the WPA Southside Community Art Center in
Chicago. In 1948, White printed at the Workshop of Graphic
Art, a brief-lived, politically motivated project that produced
two portfolios: Yes, the People (1948), and Negro
USA (1949). During the same period, Blackburn printed
We Have Been Believers (1949), among other images,
for White, who considered Blackburn to be his primary printer
in New York.
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Antonio Frasconi was born
in Argentina and moved to Uruguay at an early age. During
the 1930s, he worked as a political cartoonist and illustrator
before coming to New York in 1945, where he studied at the
Art Students League. In 1947 he traveled to Mexico to work
with Los Tres Grandes (The Big Three): Diego Rivera,
José Clemente Orozco, and David Alfaro Siquieros.
After returning to New York, he made prints at the Workshop
of Graphic Art and Blackburn's printmaking studio. Frasconi's
work also draws on such influences as German Expressionism
and Japanese woodcuts.
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Antonio Frasconi (b. 1919)
Untitled, 1948
Lithograph
© Antonio Frasconi/Licensed by
VAGA,
New York, NY
Prints and Photographs
Division (7)
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John Von Wicht (1888-1970)
Dawn, 1953
Lithograph
Prints and Photographs
Division (8)
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John Von Wicht came to the
United States from his native Germany in 1923. After settling
in New York, he worked at a lithographic printing company
and with stained glass, mosaics, and murals. Blackburn has
often credited Will Barnet and Von Wicht for being vital
supporters of the budding Printmaking Workshop. Blackburn
noted: "I think most of our learning was sitting down at
the coffee table with Von Wicht and Will and Ronald [Joseph]
and drinking coffee and working together. . ."
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Thomas Laidman studied with
Will Barnet at the Art Students League and became one of
the earliest founding members of the Printmaking Workshop.
He remembers: "There was an open arrangement, whereby
students and artists had unlimited access. . . . Bob was
a dynamo of energy . . . He'd go right to the stone, draw
an image, etch it, roll it up, and print it. Then he'd draw
on another stone, print that over his first image, then
evaluate the result. He always had five or six blank stones
around while he was working. He used them like paintbrushes."
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![Water Hole](images/bla09-02374r-th.jpg)
Tom Laidman (b. 1927)
Water Hole, 1954
Woodcut
Prints and Photographs
Division (9)
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![Image: See Caption Below](images/bla10-02417r-th.jpg)
Eldzier Cortor (b. 1916)
Carnival,
1960
Woodcut
Prints and Photographs
Division (10)
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Eldzier Cortor is best-known
for his figurative works, particularly images of proud and
beautiful black women. Among his interests are the cultures
of Haiti and Mexico and some of the designs in this abstract
woodcut suggest indigenous symbols of Haitian ritual veve
(symbol) drawings, and Mexican glyphs and codex styles.
Cortor studied at the School of the Art Institute of Chicago
and Columbia University in New York. He was a founding member
of the Southside Community Art Center in Chicago, worked
as a WPA painter, and made prints at the Workshop in the
late 1970s.
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During the 1930s, Reuben
Kadish assisted Mexican master David Alfaro Siqueiros in
painting murals in Southern California and served as head
of the San Francisco Federal Art Project. Lilith
was made at New York's Atelier 17 printmaking studio, a
year after a landmark exhibition of prints from the Atelier
at the Museum of Modern Art. A central quest of Atelier
17 printmakers was to redefine what an etching is and to
push the medium to its fullest potential. Although Kadish
made prints at the Workshop in the 1970s, this one comes
from Blackburn's private collection.
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Reuben Kadish (1913-1992)
Lilith, 1945
Intaglio
Prints and Photographs
Division (11)
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![Image: See Caption Below](images/bla12a-02361r-th.jpg) ![Image: See Caption Below](images/bla12b-02362r-th.jpg) ![Image: See Caption Below](images/bla12c-02363r-th.jpg)
Terry Haass (b. 1923)
Cycle Nordique I,
ca. 1952-1953 (left); Cycle
Nordique II, ca. 1952-1953 (center); Cycle
Nordique III, ca. 1952-1953 (right)
Intaglio; Prints
and Photographs Division (12A, 12B, 12C)
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Czech-born artist Terry Haass
studied in Paris before moving to New York. There she studied
at the Art Students League with Will Barnet and met classmate
Robert Blackburn. She worked at New York's Atelier 17 beginning
in 1946 and helped direct it, when founder and artist Stanley
Hayter (1901-1988) returned to Paris in 1950. In 1951, she
returned to Paris to study color intaglio printmaking. The
same year, a trip to Norway inspired the artist to create
her Cycle Nordique series, printed between 1952-1953
at the press of Roger Lacourière in Montmartre, Paris.
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Prominent artist Will Barnet
was an early teacher of and mentor to Robert Blackburn as
well as a founding member of the Printmaking Workshop. As
their relationship evolved from teacher and pupil to colleague
and friend, the two printmakers were eager to explore the
artistic and technical potential of lithography. Barnet
remembers: "We wanted the stone and what we did on the stone
to express the same ideals of painting, only they were graphic
in nature." Child Alone is one in a series of color
lithographs the artist printed with Blackburn between 1951
and 1952 and was featured in the prestigious journal ARTnews.
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![Child Alone](images/bla13-02360r-th.jpg)
Will Barnet (b. 1911)
Child Alone, 1951
Lithograph
© Will Barnet/Licensed by VAGA,
Prints
and Photographs Division (13) |
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