1. artbma-pdp:

    When photography came about in the 1840s, and ever since then, the “death” of painting and printmaking have been foretold. Rajon on the other hand, started his career as a photographer and then moved into making prints and paintings, and we’re glad he did!

    Paul Adolphe Rajon (French, 1842‑1888)

    After A. Fabri (Italian, active 1871)

    The Arquebusier, 1871, published 1876


    The Baltimore Museum of Art: Garrett Collection, BMA 1946.112.4229

  2. printeresting:

    (via printmakingartist) Majler Zeneli | Untitled | 2012 | Collage with mezzotint

  3. nycartscene:

    thru March 22:

    The Paris of Toulouse-Lautrec: Prints and Posters
     Henri de Toulouse-Lautrec
    MoMA, 11 W53rd St., NYC

    This exhibition, drawn almost exclusively from The Museum of Modern Art’s collection of posters, lithographs, printed ephemera, and illustrated books, is the first MoMA exhibition in 30 years dedicated solely to Lautrec, and features over 100 examples of the best-known works created during the apex of his career. Organized thematically, the exhibition explores five subjects that together create a portrait of Lautrec’s Paris. A section devoted to café-concerts and dance halls examines the rise of nightlife culture in France through the depiction of famous venues, including the celebrated Moulin Rouge. Another focuses on the actresses, singers, dancers, and performers who sparked the artist’s imagination and served as his muses, including Yvette Guilbert, acclaimed dancer Loie Fuller, and close friend Jane Avril. Lautrec’s sympathetic images of women are evident in a group of works that includes his landmark Elles portfolio, depicting prostitutes during nonworking hours, in quiet moments of introspection. Lautrec’s role in Paris’s artistic community is explored in a section devoted to his creative circle, highlighting designs for song sheets for the popular music that flooded Paris’s café-concerts, programs for the avant-garde theatrical productions that he attended, and his contributions to magazines and intellectual reviews. A final section looks at the pleasures of the capital, from horse racing at Longchamp and promenading on the Bois de Boulogne, to the new fad for ice skating and the enduring appeal of Paris’s culture of gastronomy.

  4. moma:

    "He often visited the printshop in the morning, painted in the afternoon, had dinner with his mother, and then headed to the bars." Travel back in time to Toulouse-Lautrec’s Paris in a new exhibition. 

    [Henri de Toulouse-Lautrec. Divan Japonais. 1893.]

  5. baltimoreprints:


  6. schaumann:

    Death and Life, 1916

    Gustav Klimt, Oil on canvas

    (via grimzah)

  7. artbma-pdp:

    During the latter nineteenth century many major publishers issued a small number of ‘proof’ impressions before publishing the regular edition. Proof impressions were struck before the title of the work was added along the lower margin and were printed on superior papers. They also contained a remarque, an added etched image, a pile of books in this case. Proof impressions were the only etchings to be hand signed by the etcher. via

    Gustave Mercier (French, 1858‑1898)

    After Walter William Ouless (English, 1848-1933)

    Published by Robert M. Lindsay (American, c. 1836‑1912)

    Charles Darwin, 1890


    The Baltimore Museum of Art: Gift of Mrs. Harry B. Slack, Jr., BMA 1956.74

  8. printclubboston:

    John Baldessari

    Hegel’s Cellar Portfolio, 1986


    (Source: artsy.net)

  9. philamuseum:

    In this painting of the Parisian dance hall Moulin Rouge, Henri de Toulouse-Lautrec depicts a gangly male dancer in a top hat. This dancer, known as Valentine the Boneless, was so sinewy and agile that his legs appeared to be made of rubber when he danced.

    At the Moulin Rouge: The Dance,” 1890, by Henri de Toulouse-Lautrec

  12. printeresting:

    Etsuko Fukaya, Japan, b. 1981, Untitled (38), 2013, Etching, ed. 30 / AP3 27.3 x 36.4 cm (via Ocula)

  13. artbma-pdp:

    The wood chopper gets taken to the woodshed…

    Edmond Hédouin (French, 1820‑1889)

    After Jean‑François Millet (French, 1814‑1875)

    Death and the Wood Chopper, c. 1880


    The Baltimore Museum of Art: Garrett Collection, BMA 1946.112.2176

  15. artbma-pdp:

    Rajon is one of many French artists for whom Rembrandt reached cult status in the late 19th century.

    Paul Adolphe Rajon (French, 1842‑1888)

    After Jean‑Léon Gérôme (French, 1824‑1904)

    Rembrandt in His Studio, c. 1869


    The Baltimore Museum of Art: Garrett Collection, BMA 1946.112.4212