Exhibitions: Recent Accessions: Prints

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: Likishi Dance Costume Leggings

This complete dance costume shows how masks are normally one part of a larger ensemble. The mask is sewn directly onto the costume of looped...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: An Apple Orchard

    Daubigny devoted several canvases to apple orchards, generally favoring cheerful scenes of blossoming trees in spring rather than the melanc...


    Recent Accessions: Prints

    Press Releases ?
    • June 12, 1936: The French section of the Brooklyn Museum Print Department has been strengthened and enlivened by important recent accessions; the exhibition of prints newly acquired, which opened today (Friday, June 12), makes this clear. Pierre Bonnard (1867–), Felix Bracquemond (1833–1914), Paul Cezanne (1839–1906), Honore Daumier (1808–1879), Edgar Degas (1834–1917), Andre Derain (1880–), Jean Louis Forain (1852–1931), Alphonse Legros (1837–1911), Edouard Manet (1832–1883), Henri Matisse (1864–), Georges Rouault (1871–), Paul Signac (1863–), and Henri de Toulouse-Lautrec (1864-1901) are the French artists represented by the current exhibition. A drawing by Jean Francois Millet (1814–1875) is also included.

      Among other items shown are an Abstraction from a "Portfolio of Ten Blockprints" by Werner Drowes, prominent young American abstract painter and print-maker; "Jean le Musicien" a large decorative head in lithograph by Juan Gris (1887-1927), Spanish School; two Street Scenes from "Paysages Urbains," a portfolio of expressionist prints by Stanley William Hayter (1901-), English School; several items by Pablo Picasso, his "Groupe de Tois Femmes Nues," line etching, being one of the most sheerly beautiful prints in the exhibition; "The Poet" by Giuseppe Ribera (Lo Spagnoletto) (1590–1352), Spanish School; "Zapata" by Diego Rivera (1886–), Mexican School, and two etchings by Giovanni Battista Tiepolo (1696–1770) from the series "Scherzi di Fantasia," acquisition of which has been previously announced. Both the Bonnard prints are lithographs in color, one a very lively sunlit scene of a market, chiefly in pink and yellow, but with three accents of black masses. "Les Saules de Mottiaux" by Bracquemond is an extremely pretty and romantic landscape but handled with great clarity and light in a pattern of free open lines that keeps the more or less typical subject from the banal. The Cézanne is a quick sketch (etched) of the painter "Armald Guillaumin,” a nervous characteristic drawing. The Daumiers are clear and fine, one the “Madeleine Bastille" an amusing comic episode of the entrance of a fat woman in a railway carriage, one a full length satirical portrait of a French politician “Charles Guillaume Etienne,’ the third a group of fifteen grotesque Masques of 1831.

      "Apres le Bain" (lithograph), "Au Louvre, Musee des Antiques" (aquatint), and "Au Louvre, La Peinture (Mary Cassatt)" (etching and aquatint), by Degas are all studies of groups of figures, the last two being variations on the same theme of composition. Their strength, breadth and rich darkness surprise in contrast with the lightness and delicacy of his more familiar work. "Danseuse Mettant son Chausson" is a hasty line sketch in etching. Three of these prints are from the artists collection.

      The abstractions by Werner Drewes satisfy by really decorative add evocative composition and by richness of detail. They remain purely abstract. But the expressionistic performances by Hayter will take more explaining and justification. Each features a somewhat distorted landscape superimposed upon a sketch of something entirely unrelated, for instance a vase of flowers, a reclining nude. The two are connected by placing in composition and usually the connection is emphasized by otherwise meaningless caligraphic lines. If one disregards this trick, the landscapes please by light, clarity and decisive line.

      Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1931 - 1936. 04-06_1936, 073-4. View Original 1 . View Original 2

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    "Hi Aimee, I think you mean Oreet Ashery? More information can be found in her profile on the Feminist Art Base: http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/oreet_ashery.php?i=266"
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    "Hi, I am trying to find the name of the artist who took and is in the photograph that follows- http://www.brooklynmuseum.org/opencollection/exhibitions/664/Global_Feminisms_Remix/image/216/Global_Feminisms_Remix._%7C08032007_-_03032008%7C._Installation_view. I believe the artist takes pictures of herself dressed as a man but then exposes her femaleness, as in the photo of her dressed as an Ascetic Jew exposing her breast. Can you help me find her information? Thanks in advance- Aimee Record"
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    Prints, Drawings and Photographs

    Over the years, the collections of the Brooklyn Museum have been organized and reorganized in different ways. Collections of the former Department of Prints, Drawings, and Photographs include works on paper that may fall into other categories: American Art, European Art, Asian Art, Contemporary Art, and Photography.
    The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the informative text panels written by the curator or organizer. Called "didactics," these panels are presented to the public during the exhibition's run, and we reproduce them here for your reference and archival interest. Please note that any illustrations on the original didactics have not been retained, and that the text may contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the objects from the Brooklyn Museum collection that were in the installation. These objects are listed here for your reference and archival interest, but the list may be incomplete and does not contain objects owned by other institutions or lenders.
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