"The autobiography of Southwestern artist Gustave Baumann, with commentary by Martin Krause, Indianapolis Museum of Art. Includes color reproductions and historical photographs"--
"Contains an in-depth introduction by Martin Krause and autobiographical text written by Gustave Baumann (edited by Krause) about the time Baumann spent in Brown County, Indiana. Includes color reproductions of Baumann's work and historical photographs"--
At the center of the Santa Fe art scene for a half-century, Gustave Baumann (1881-1971) drew on the invigorating influences of other European and American artists, along with Native American potters and watercolor painters, to produce a wealth of woodblock prints depicting the southwestern landscape, its peoples, and their rituals. As his images grew more complex, he devised innovative printing techniques, creating luminous prints with warm, blended hues. Gustave Baumann's Southwest presents over fifty of the artist's woodblock prints and gouaches, with an essay by Joseph Traugott, curator of twentieth-century art at the Museum of Fine Arts, New Mexico. Traugott outlines Baumann's life story, dwelling on the decisive moments when the artist struck out on his own. After he turned away from his early commercial success as an advertising illustrator in Chicago, Baumann combined a modern palette and techniques both traditional and modern while depicting subjects that existed long before an industrial revolution transformed American life.
This book reveals the technique of a man who is among the most influential and beloved printmakers of the twentieth century. Being fastidious and infinitely patient, Baumann saved many of his preliminary drawings and progressive proofs, leaving behind a fascinating and intricate story of his creative process. Hand of a Craftsman features the heretofore unpublished notes and progressives the artist compiled in the making of his extraordinary woodcut Grand Caon and includes many prints never before reproduced and rarely exhibited. Baumann's work is awash in brilliant, hand-ground pigments and reveals a style that is wholly self-reliant and free. The intriguing technique used by this meticulous master, complex but enthralling, only enhances one's appreciation for this unique colour woodcut medium.
Edited by Louise Downie. Essays by James Stevenson, Katharine Conley, Gen Doy, Claire Follain, Tirza True Latimer, Jennifer Shaw and Kristine von Oehsen.
Around 1600, trade and shipping flourished in the Northern Netherlands as never before. This activity of ships on the water and in the many ports was a new, inexhaustible source of inspiration for painters who chose the sea as their subject. Among these marine painters were father and son Willem van de Velde. They worked closely together for over fifty years, first from their Amsterdam shop and from 1672 at the court of the English kings Charles II and James II. With their eye for detail and entrepreneurial talent, they became the most prominent marine painters of the seventeenth century.0Their studio has existed for over fifty years. Their productivity in that period was unprecedented, they made an estimated 2500 drawings and 800 paintings. Their works of art can now be found in the collections of all major museums in the world. The work of the Van de Veldes symbolizes the heyday of Dutch marine painting. Their departure to England in the winter of 1672 also marked the end of a period in which Dutch marine painters, like the war fleet they depicted throughout their lives, ruled in an artistic sense.00Exhibition: Het Scheepvaartmuseum, Amsterdam, the Netherlands (1.10.2021-27.3.2022).