Edward Landon studied at both the Hartford Art School and the Art Students League. He was a pioneer in elevating see more . . .
Barker was born in Chicago where his parents were visiting on business, but his true home was Moylan, Pennsylvania. He was educated at the Pennsylvania Academy of the Fine Arts, Haverford College and he eventually earned a Ph.D.
in Greek from the University of Pennsylvania. Barker initially taught Greek at Haverford and served as assistant professor of fine art at Swarthmore. For eight years he served the public schools of Wilmington, Delaware as director of art education.
In 1926 he discovered lithography and an ability to do on stone what he was
used to doing with charcoal. In 1927, Barker met master lithographer Bolton
Brown with whom he studied and became devoted to lithography. He was intent
on recording the landscapes and farms of his native area. In 1934, he was given a solo show at the Smithsonian.
Fritz Eichenberg (American, 1901 – 1990)
German born wood engraver and lithographer Eichenberg studied at the School of Applied Arts in Cologne before moving to Berlin where he was a reporter and staff artist for the Ullstein Publishing House. When Hitler came to power in 1933, Eichenberg moved New York where he taught at the New School for Social Research and worked on the Federal Art Project. He taught at the Pratt Institute and served as the director of the Pratt Graphics Center where he edited Artist'sProof, a journal on printmaking.
In 1966, he moved to Rhode Island and chaired the Art Department of the University in Kingston. Eichenberg's wood engravings and lithographs are almost always associated with literary sources. His prints are in numerous collections including the Metropolitan Museum of Art, the Library of Congress, Yale University Library, the Hermitage, the Vatican, the Bibliotheque Nationale.
Craig McPherson was born in Wichita, Kansas in 1948. After receiving his BFA from the University of Kansas in 1970, he worked as a curator and lecturer for the National Endowment for the Arts, before moving to New York in 1975.
In 1983, McPherson had his first one-man exhibition in New York. McPherson next devoted his energies to printmaking, producing mezzotints of New York City at night. These prints led to a corporate art commission for the American Express Company for a 90-foot mural cycle for the auditorium of their corporate headquarters at the World Financial Center (WFC). In January 1987, the Harbors of the World mural cycle was initiated by American Express for the lobby of their New York WFC headquarters. This vast undertaking involved ten paintings 365 feet long by 11 feet high. The murals depict the harbor cities — New York, Venice, Istanbul, Sydney, Rio de Janeiro and Hong Kong. McPherson’s works are in numerous museums and private commections
Moody, mysterious, majestic – these are some of the ways to describe the mezzotints of Frederick Mershimer. His images travel through the serenity of a Brooklyn neighborhood on a still night, rush past the frenzy of taxis jockeying for position around a New York cathedral, and parade down the fire-lit streets of New Orleans in its mythical Mardi Gras celebration.
The evocative realism he creates transports the viewer beyond first appearances to reveal the hidden beauty and vitality of his scene. At first glance, his work can be interpreted as bold naturalism. Yet, he skillfully choreographs lighting and detail while altering perspective to draw the viewer’s attention to the essence of the piece. Mershimer’s mezzotints speak to both the grit and grandeur of the modern American city.
Born in Yokohama in 1954, Watanabe graduated from Ecole des Beaux Arts in Tokyo in 1977 and then moved to Paris. Two years later, he was honored by admission to Atelier 17 in Paris and by 1983 had mastered the mezzotint process. Watanabe has created over 90 mezzotints in the past 13 years, each velvety black creation featuring his model and wife, Yuriko. Of his art Watanabe has written: "It is essential that I vigorously train myself, perpetually purifying and polishing my character. My works are an effort to capture with sincerity the beauty that is manifest in nature. The moment when the copper plate, the technique, the tools and myself become one harmonious whole is when the best of each element is brought out."
In compositions reflecting an appreciation for finely crafted utilitarian objects and beautiful machines, Carol Wax creates an imagery that investigates, in her own words, “the influence of light and shadow on perceptions of form and depth.” She energizes these nostalgic icons of our past with new life, making an ordinary typewriter seem monumental and an unplugged old fan virtually vibrate. Her sewing machines emblazoned with elegant hieroglyphs, speak of some lost sensibility while her accordions radiate with the rhythms of a Cajun dance hall on a Louisiana bayou.
Honored with the 1994 Louise Nevelson award by the American Academy of Arts and Letters, Wax was recognized as an innovator of the mezzotint. Her book, The Mezzotint: History and Technique, published by Abrams in 1990 has become the definitive work on this difficult medium.