MADE IN WOODSTOCK - Printmaking from 1903 to 1945

Sep 28, 2026

Uploaded by Mabel

This publication presents a detailed history of printmaking in Woodstock, New York, spanning from the earliest days of the artists’ community through the mid-1940s. It examines major printmaking activities in the village and surrounding areas, tracing how the pressures and forms of World War II contributed to more abstract and personal art approaches. The study also draws on archives, catalogues, and visits to private collections, supplementing earlier exhibitions and highlighting both well-known and long-forgotten trends.

LanguageEnglish

CategoryLiterature

FormatPDF

Pages68

Reading Time1 h 45 min

AccessFree to download

Preface

Acknowledgments

Introduction

Printmaking at Byrdcliffe

Zulma Steele and Her Later Prints

Hervey White and Printmaking on the Maverick

Bolton Brown and the Conservative Print Tradition in Woodstock

Konrad Cramer and Modern Printmakers in Woodstock

Peggy Bacon in Woodstock and the Hue and Cry

The Woodstock Almanac

Grant Arnold and Printing at the Woodstock Artists Association

Prints for the Federal Government

Color Lithography at Woodstock

Stencil Prints at Woodstock

Conclusion

Notes

Checklist of the Exhibition

MADE INWOODSTOCK Printmaking from 1903 to 1945 MADE INWOODSTOCK Printmaking from 1903 to 1945 PATRICIA PHAGAN THE FRANCES LEHMAN LOEB ART CENTERVASSAR COLLEGE POUGHKEEPSIE,NEW YORK 2002 Preface 3 Acknowledgments 4Introduction 7 Printmakingat Byrdcliffe 9Zulma Steele and Her Later Prints 13 Hervey White and Printmaking on the Maverick 15 Bolton Brown and the Conservative Print Tradition in Woodstock 18Konrad Cramer and Modern Printmakers in Woodstock 24Peggy Baconin Woodstock and the Hue andCry 31The Woodstock Almanac 37 Grant Arnold and Printingat the Woodstock Artists Association 38Prints for the Federal Government 47Color Lithography at Woodstock 51Stencil Prints at Woodstock 54Conclusion 57Notes 58Checklist ofthe Exhibition 62 Exhibition dates:July 5 through September 15,2002 Front coverillustration:Arnold Wiltz,Spillaeay,1936.Woodengraving.Checklist 49. Back coverillustration:Arnold Blanch,Untitled.Linoleum cut.Hue andCry.Vol.3,Nos.10-11,1925. CopyrightO2002 by the Frances Lehman Loeb Art CenterVassar College,124 Raymond Avenue,Poughkeepsie,New York 12604All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means,electronicor mechanical,including photocopying,recording,or any information storage and retrieval system,without written permission from the Frances Lehman LoebArt Center. PREFACE This yearis the one hundredch anniversary of che founding of the BydcifeArts and Crafis colony,the first artists'community identified with Woodstock,New York.This frst detailed study ofWoodstock as a center for printmaking traces the history of major printmaking acivities that tookplace in the village and the vicinityfrom its earliest days as aself-consciousartists'community to themiddle years of the 1940s.The conflicts and large-scale nature of World War II stimulated more ab-stract and personal ways of making art,aesthetic approaches that opened another era in Woodstockprintmaking.This study also complements the pioneering exhibition devoted to Woodstock paint-ers and sculptors that was held in 1977 at the Vassar College Art Gallery,Woodstock:An American ArtColony 1902-1977,organized under the direction of guest curator and professor of art,Karal AnnMarling. The importance of Wodstock as a printmakingcenterin the early part ofthe twentieth centuryis not wellknown,evenamong print specialists.The criticalliterature hasfocused primarily onthehistory of lithography and on surveys of prints made by Woodstock artists.These studies pointedto the contribution of Woodstock in the history of lithography in the United States,to thesignificance of Woodstock in printmaking by American artists in the early part of the last century,and to Woodstock as a thriving art center with artists familiar with the financial advantages andaesthetic challenges of printmaking.The current assessment builds upon these previous exhibi-tions and texts,but italsoattempts to create a more comprehensive history of the varied,rich printactivities in the Woodstock community,highlighting major currents and uncovering long-forgot-ten trends.From archives,catalogues,and photographs taken while visiting private collections,Ihave compiled notebooks of the prints of almost every artist in the exhibition,since catalogues ofprints by most of these artists have not been published.From studyingtheissues ofthe magazines,The Plooshare,Hue and Cry,and Woodstock Almanac,new information about artists working inWoodstock has been revealed.This is not an exhaustive study,however,for much more researchneeds to be carried out on these artists'prints and on the publications that featured their works.This project has also uncovered many other artists of interest in Woodstock who were involved inprintmaking,and it is unfortunate that,because of space considerations,many more could not beincluded here.Otherwise,because of the popularity of printmakingin Woodstock,this exhibitionwould have been very la

FAQs

What time period does the study cover?

The publication traces Woodstock printmaking from the community’s earliest days through the middle years of the 1940s, framed by the volume’s stated title period of 1903 to 1945.

What sources were used to compile the exhibition history?

The author compiled notes from archives, catalogues, and photographs gathered while visiting private collections, since many catalogues of prints by exhibiting artists were not published.

Does the exhibition focus only on works made in Woodstock?

Yes. It concentrates on works produced only in Woodstock and its surrounding areas, while also discussing related strands created in New York and Paris by certain artists and printers.

Sep 28, 2026

Uploaded by Mabel