Feast and FaMine - Portland Art Museum`s Online Collections

Transcription

Checklist
All dimensions are given in inches; height
precedes width precedes depth.
Glen Alps
(American, 1914–1996)
1. Ferry Boat Café, 1946
Lithograph; unnumbered edition of 10
image: 9 x 10 7/8
sheet: 12 x 12 3/8
The Vivian and Gordon Gilkey Graphic
Arts Collection; Gift of the artist
93.40.12
Mario Avati
(French, 1921–2009)
2. The Alsatian Wine Bottle, 1957
Etching and aquatint; edition 1/2
plate: 17 5/8 x 23 7/8
sheet: 19 7/8 x 26
Arts Collection
86.13.450
Frank Boyden
(American, born 1942)
3. Menu: October 8, 2010, 2010
Drypoint with watercolor and graphite;
edition of approx. 5
plate: 12 x 10
sheet: 15 1/2 x 12 3/4
Gift of the artist in honor of Tom Firman
2013.84.1
Leonetto Cappiello
(French, born Italy, 1875–1942)
6. Contratto, 1922
Color lithograph; large edition, size
unknown
image and sheet: 55 3/8 x 39 1/4
Promised gift of Daniel Bergsvik and
Donald Hastler
Enrique Chagoya
(American, born Mexico, 1953)
7. The Enlightened Savage, 2002
Digital pigment prints wrapped around 10
cans with silkscreened cardboard box;
edition 14/40
stacked cans: 16 x 14 x 5
box: 5 x 16 x 7
Collection of Jordan D. Schnitzer
8. Pyramid Scheme, 2009
Digital pigment prints wrapped around 10
cans with silkscreened cardboard box;
edition 9/40
stacked cans: 16 x 14 x 5
box: 4 3/4 x 16 1/4 x 6 1/2
Sue Coe
(English, active United States, born 1951)
9. Feed Lot, 1991
Lithograph; edition 6/100
image: 18 1/8 x 16 1/8
sheet: 22 1/2 x 16 1/8
Museum Purchase; Funds provided by
Diane and Richard Lowensohn
2013.123.1
10. Standing Pig, 1993
Etching; edition 3/18
image: 9 x 113/4
sheet: 14 7/8 x 21 7/8
the son of a Union Butcher
2013.123.2
4 Frank Boyden and Margot Voorhies Thompson
Frank Boyden
Margot Voorhies Thompson
4. Menu du 13 Septembre 2007 (Menu of
13 September 2007), 2007
Drypoint with watercolor and ink; edition
31/35
plate: 11 5/8 x 7 3/4
sheet: 14 x 10
Gift of Frank Boyden
2007.72
Aaron Fink
22.Peach Ice Cream Cone, 2004
Color photolithograph; Gilkey Center
proof, aside from edition of 20
image: 20 1/2 x 15 1/4
sheet: 30 x 22
Gift of Mahaffey Fine Art, Print Workshop,
Portland
2009.83.4
Félix Bracquemond
(French, 1833–1914)
5. Selection of dinnerware from the Service
Rousseau, 1866–75
Handpainted earthenware with transferprinted designs
Various dimensions
Lent by Helen Jo and William Whitsell
Warrington Colescott
11. Suite Louisiana: Down Tchoupitoulas
Street (Chef Emeril), 1996
Soft‑ground etching, aquatint, and
spit‑bite aquatint, with vibrograver, à la
poupée inking, and relief rolls through
stencils, printed in color; state iii proof
before edition of 80
plate: 17 3/4 x 23 3/4
sheet: 22 1/2 x 30
Gift of the artist
2001.57.4
Claude Gadoud
(French, 1905–1991)
23.Vins Camp Romain, 1925
Color lithograph; edition size unknown
image and sheet: 63 x 74
Donald Hastler
Robert Gober
24. Untitled (Fresh Pigs), 1993–94
Color lithograph; edition 63/75
image: 111/4 x 11
sheet: 12 1/4 x 12
12 Adolf Dehn
Adolf Dehn
(American, 1895–1968)
12. Watermelon Eaters, 1945
image: 7 1/2 x 9 7/8
sheet: 9 5/8 x 13 3/4
Gift of Mrs. Adolf Dehn
1999.8.16
13. Cornucopia and Her Pestilential Sister—
Famine, 1949
image: 12 7/8 x 17 1/4
sheet: 16 7/8 x 21
Gift of Mrs. Adolf Dehn
1999.8.380
James Ensor
(Belgian, 1860–1949)
14. Menu pour Charles Vos (Menu for Charles
Vos), 1896
Etching; edition size unknown
plate: 6 1/8 x 4 1/4
sheet: 7 7/8 x 7
Private collection
Vos), 1896
Etching with brown ink; edition size
unknown
plate: 6 1/8 x 4 1/4
sheet: 7 7/8 x 5 3/4
Private collection
Vos), 1896
Etching with watercolor; edition size
unknown
plate: 6 1/8 x 4 1/4
sheet: 111/4 x 9 3/8
Private collection
17. Menu pour Ernest Rousseau (Menu for
Ernest Rousseau), 1896
plate: 7 1/8 x 5 1/4
sheet: 111/2 x 9 1/2
Private collection
18. La Gourmandise (Gluttony), from the
series Les Péchés capitaux (The Deadly
Sins), 1904
Etching with hand-coloring; edition size
unknown
plate: 3 3/4 x 5 3/4
sheet: 6 3/8 x 9 7/8
Private collection
Bob Evans
(Welsh, born 1947)
19. Late Dinner, 1988
image: 8 x 12 1/8
sheet: 12 1/8 x 16
Arts Collection
1997.228.321
Philip Evergood
(American, 1901–1973)
20. Still Life, 1944
Lithograph; edition of 200
image: 111/2 x 16 1/4
sheet: 12 3/4 x 18 3/4
Gift of Mrs. Yeffe Kimball Slatin
51.226
Mary Fedden
(British, born 1915)
21. Ginger Beer Bottle, 1971–72
Color lithograph on paper; edition 6/70
image: 16 1/8 x 22 1/2
sheet: 20 7/8 x 27
The Herbert and Nancy Bernhard
Collection
87.44.7
25. Untitled (Whole Pigs), 1993–94
image: 21 x 11
sheet: 22 3/8 x 12
David Lance Goines
26.Sauvez les poisons (Save the Fish), 1998
Color lithograph; unnumbered edition
of 2,085
image and sheet: 24 x 171/2
Donald Hastler
27. Chez Panisse: Grow What You Eat, 2008
Color lithograph; unnumbered edition
of 1,253
image and sheet: 24 x 15 ¼
Donald Hastler
George Grosz
(German, 1893–1959)
28.Geselligkeit (Dinner Party), 1929
Graphite and ink
18 1/4 x 23 5/8
Museum Purchase; Ella M. Hirsch Fund
38.48
Camille Pissarro
(French, born Danish West Indies,
1830–1903)
44.Marché aux légumes, à Pontoise
(Vegetable Market at Pontoise), 1891
Etching
image: 10 x 8
sheet: 12 5/8 x 91/2
Arts Collection
79.50.633
Commissioned through New Deal art
projects
L43.6.103
Sister Mary Corita Kent
(American, 1918–1986)
31. Fresh Bread, A Secret Agent, 1967
Color screenprint; edition size unknown
image: 14 1/8 x 22 1/4
sheet: 14 3/8 x 23 1/8
Arts Collection
86.13.573
45.La Charrue (The Plow), 1901
Color lithograph
image: 8 7/8 x 6 1/4
sheet: 9 5/8 x 6 3/4
Bequest of Charles Henry Leavitt
59.26.51
Käthe Kollwitz
(German, 1867–1945)
32.Bettelnde (Beggars), 1924
Lithograph; edition size unknown
image: 15 1/8 x 9 7/8
sheet: 12 1/2 x 15
Arts Collection
86.13.490
Henri Privat‑Livemont
(Belgian, 1861–1936)
46.Absinthe Robette, 1896
image and sheet: 46 1/4 x 32 5/8
Donald Hastler
33.Deutschlands Kinder hungern! (Germany’s
Children Are Starving!), 1924
Lithograph; edition size unknown
image: 17 x 111/4
sheet: 211/8 x 15
Arts Collection
85.14.365
Roy Lichtenstein
(American, 1923–1997)
34.Sandwich and Soda, from the portfolio X
+ X (Ten Works by Ten Painters), 1964
Screenprint on clear plastic; edition
174/500
image: 19 x 23
sheet: 20 x 24
35.Still Life with Windmill, from the series Six
Still Lifes, 1974
Color lithograph and screenprint with
de‑embossing; edition 62/100
image: 29 1/4 x 38 1/8
sheet: 35 7/8 x 44 1/8
Collection of Jordan Schnitzer Family
Foundation
David Hockney
(English, active United States, born 1937)
29.Menu—2nd January 1980, 1980
Color offset lithograph; edition size
unknown
sheet: 18 3/4 x 12 7/8 (sight)
Collection of Pamela Berg
Victor Prouvé
(French, 1858–1943)
47. Brasserie de Vézelise, 1914
image and sheet: 46 1/2 x 62
Donald Hastler
44 Camille Pissarro
36.Tea Service, 1984
Set of 21 glazed ceramics in custommade box; artist’s proof, aside from
edition of 100
box: 20 x 26 x 7 5/8
Collection of Harsch Investment Property
Management
Jean‑François Millet
(French, 1814–1875)
37. Les Glaneuses (The Gleaners), 1855
Etching
plate: 7 1/2 x 10
sheet: 8 1/4 x 13
Arts Collection
80.122.514
38.La Baratteuse (Woman Churning Butter),
1855–56
Etching
plate: 7 x 4 3/4
sheet: 8 1/2 x 5 7/8
Bequest of Charles Henry Leavitt
59.26.47
Thomas Richard Hood
(American, 1910–1995)
30.Dinner Time, 1935/42
image: 8 x 7
sheet: 10 3/4 x 8 1/2
Allocated by the U.S. Government,
43 Pablo Picasso
39. La Bouillie (Gruel), 1861
Etching
plate: 6 5/8 x 5 1/8
sheet: 10 x 6 1/2
Arts Collection
78.52.679
40.Le Départ pour le travail (Leaving for
Work), 1863
Etching
plate: 151/4 x 12 1/8
sheet: 19 3/4 x 16 1/8
Gift of Mrs. George Ware in memory of
her husband, George Ware
66.10
Claes Oldenburg
(American, born Sweden, 1929)
41. Alphabet in the Form of a Good Humor
Bar, 1970
sheet: 29 x 20
Gift of Mr. Ronald Shindler and Mr. Lowell
Shindler
81.107.2
Mel Ramos
48.Miss Fruit Salad, 1990
Color screenprint; edition 73/125
sheet: 45 5/8 x 38
Nelson Sandgren
(American, 1917–2006)
49.The Winemaker, 1960/70
image: 21 7/8 x 16 3/8
sheet: 30 x 22 1/8
Arts Collection
80.122.65
Cindy Sherman
50.Tureen with cover and underplate,
Madame de Pompadour (née Poisson)
pattern, 1990
Porcelain with painted and silk-screened
decoration; edition 14B /25
underplate: 2 1/2 x 14 1/2 x 22
tureen: 10 x 7 3/4 x 15
Nani S. Warren and Katherine “Kitty”
Bunn
2009.15a–c
Wayne Thiebaud
51. Lunch, from the suite Delights, 1964
Etching; artist’s proof from edition of 100
image: 5 x 6 3/4
sheet: 14 x 11
Gift of the E. Mark Adams and
Beth Van Hoesen Adams Trust
2007.59.127
52.Delights, 1965
Artists’ book with 17 prints, including
etching, etchings with aquatint, and
drypoint; edition of 100
13 1/2 x 113/8 x 3/4
Gift of Manuel Neri
2001.69
53.Candy Apples, 1987
Woodcut; edition 43/200
image: 16 1/2 x 15 1/2
sheet: 24 x 23
Lent by Ronna Hoffman
54.Cakes and Pies, 2006
Color direct gravure; edition 23/40
image: 22 x 18 1/4
sheet: 30 x 25 1/2
Foundation
Henri de Toulouse‑Lautrec
(French, 1864–1901)
55.La Modiste, Renée Vert, menu (The
Milliner, Renée Vert, Menu), 1893
Lithograph; edition size unknown (few
impressions)
image: 12 1/4 x 8 1/2
sheet: 211/2 x 12 1/2
Private collection
62.Steaks, 99 cents, c. 1986
Screenprint; not editioned (few
impressions known)
sheet: 21 3/4 x 14 3/4
53 Wayne Thiebaud
56.La Fillette nue, menu (The Naked Girl,
Menu), 1898
Lithograph; no edition (five known
impressions)
image: 8 1/2 x 7 1/2
sheet: 18 1/2 x 111/2
Private collection
Beth Van Hoesen
(American, 1926–2010)
57. Cocktail Hour, 1946
Lithograph; no edition
image: 12 1/2 x 9 3/8
sheet: 19 1/8 x 12 5/8
2007.60.13
58.Chinese Cabbage (Cabbage), 1960
Etching with roulette and drypoint; edition
6/25
plate: 9 7/8 x 7 7/8
sheet: 14 1/2 x 14
2007.60.70
59. Lunch, 1965
Etching and aquatint with open bite;
edition 4/35
plate: 8 1/8 x 7 5/8
sheet: 12 7/8 x 12 1/8
2007.60.469
42.Profiterole, 1990
sheet: 311/4 x 41
Andy Warhol
(American, 1928–1987)
60.Piglet, from Wild Raspberries by Andy
Warhol and Suzie Frankfurt, 1959
Lithograph with watercolor; edition size
unknown
sheet: 17 1/2 x 22 1/2
Foundation
Pablo Picasso
(Spanish, active France, 1881–1973)
43.Le Repas frugal (The Frugal Repast), from
Suite des Saltimbanques, 1904
Etching with scraper; edition of 250
plate: 181/4 x 14 7/8
sheet: 25 1/2 x 19 7/8
Courtesy of John Szoke Gallery, New York
61. Torte á la Dobosch (Dobosch Torte) from
Wild Raspberries by Andy Warhol and
Suzie Frankfurt, 1959
Lithograph with watercolor; edition size
unknown
sheet: 17 1/8 x 11
Foundation
50 Cindy Sherman
The Campbell’s Soup Company
After Andy Warhol
(American, 1928–1987)
63.The Souper Dress, 1966–67
Screen-printed tissue, wood pulp and
rayon mesh with binding tape; edition
size unknown
38 x 22
Feast and Famine
The Pleasures and Politics of Food
James Abbott McNeill Whistler
(American, active in England and France,
1834–1903)
64.The Wine Glass, 1858
Etching; edition size unknown (41 known
impressions)
image: 3 1/4 x 2 1/8
sheet: 6 x 4 1/2
Gift of Ada A. Chipman
86.1.2
Joe Wirtheim
65.Break New Ground, 2007, printed 2013
Color offset lithograph; unnumbered
edition of 500
Courtesy of the artist and The Victory
Garden of Tomorrow
66.Keep ’Em Flying, 2007, printed 2013
Color offset lithograph; unnumbered
edition of 500
Courtesy of the artist and The Victory
Garden of Tomorrow
This exhibition is organized by the Portland Art
Museum and curated by Mary Weaver Chapin,
Ph.D., Curator of Graphic Arts; it is supported
in part by the Vivian and Gordon Gilkey
Endowment for Graphic Arts and the Exhibition
Series Sponsors.
Cover:
34 Roy Lichtenstein
January 11 – May 4, 2014
Portland Art Museum, Oregon
Feast and Famine
the etchings of the pre-Impressionist peintre-graveur JeanFrançois Millet. Les Glaneuses (The Gleaners) depicts three
women stooped over a recently harvested field to collect
grain left behind, an age-old right of widows and destitute
peasants that dates back to biblical times. Millet captures
their fatigue and contrasts the meager holdings of the peasant women to the bountiful harvest behind them, creating
an image that addresses both the plight of the poor and
the politics of abundance.1 Despite their ungainly postures,
the women bear a sense of dignity, a feature again found in
Millet’s La Baratteuse (Woman Churning Butter), in which
the simplified setting, monumentality of the young peasant
woman, and dramatic lighting elevate this daily task to the
realm of the iconic. A generation later, Impressionist Camille
Pissarro honored agricultural labor, from the preparation of
the fields in La Charrue (The Plow) to the presentation of
the produce at market in Marché aux légumes, à Pontoise
(Vegetable Market at Pontoise). Pissarro here also highlights
the social interactions in the lively market, where food is the
catalyst that brings people together.
The Pleasures and Politics of Food
further suggests that this is not an ordinary party. For a
private dinner in 2007, to celebrate the opening of a gallery
exhibition featuring works by both Ensor and Oregon artist
Frank Boyden, calligrapher Margot Voorhies Thompson and
Boyden reinterpreted this menu, replete with an image of
the head of James Ensor on a platter.
The food and, especially, the beverage industries were
among the top commissioners of color posters when they
emerged as the most prominent advertising medium in
the 1890s. Brightly colored, these lithographic posters were
plastered across the major cities of Europe well into the
twentieth century. Bold images like Henri Privat-Livemont’s
Absinthe Robette enticed the urban bourgeoisie to indulge
in the pleasures of absinthe, a strong hallucinogenic liqueur
with a beautiful green color. Privat-Livemont made the
beverage even more enticing by depicting a lightly draped,
comely young woman offering up the drink, thereby linking the enjoyment of drinking with the sensual pleasure of
Moving from the fields to the market and thence to the
table, Feast and Famine enters the private realm of dining.
As one of humanity’s fundamental needs, food is a constant
across cultures and centuries. More than daily sustenance,
food is a social lubricant, a focal point for celebrations, a
bearer of cultural meaning, and a sensual delight. Its scarcity
causes wars, its production ignites debate, and its sale and
distribution have spawned complex networks of industry and
advertising. It is not surprising, then, that artists have engaged
with this topic throughout history, from prehistoric cave paintings depicting wild game to lavish still lifes documenting the
At the turn of the nineteenth century, artists including Henri
de Toulouse-Lautrec used their talents to create menus for
feasts, public and private. Toulouse-Lautrec was as passionate about food as he was his art and produced menus
on commission for clients, including the artists’ group the
Société des Indépendants. For them Lautrec created a stylish
menu card, La Modiste, Renée Vert, picturing a pert milliner
at work. Around the same time, Belgian artist James Ensor
was busy creating a menu for his friend and cabaret owner
Charles Vos, seen in this exhibition in three versions: a first
state before text, a state with the handwritten menu, and
an impression with hand-coloring. Ensor’s caustic humor
is evident in his depiction of the party revelers, who arrive
carrying fish, pigs, and chickens. Other guests have already
overindulged and can be seen in the ramparts vomiting
and defecating on those below. The fare offered—including
mégalosor (megalosaurus) and cuissot d’ange (angel haunch)
bounty and wealth of a society. Feast and Famine explores
food-related themes—from the fields to the table, and from
the profound to the humorous—in the graphic arts since 1850.
For most of human history, sustenance has gone hand in
hand with hard physical labor, a concept that is easily forgotten in the twenty-first century, where consumers are largely
divorced from the sources of their food. In this exhibition,
the intimate tie between food and labor is best expressed in
32 Käthe Kollwitz
Ramos’s sensibilities are shaped by the Pop movement, which elevated everyday objects to the realm of the
monumental. Traditionally, still life was considered a minor
genre, but in the hands of Pop artists, it was renewed in
innovative and often humorous ways:2 Claes Oldenburg
morphed a towering ice cream bar into an edible alphabet,
Andy Warhol turned banal soup cans into wearable art, and
Roy Lichtenstein completely transformed an ordinary tea
service by using his graphic, Ben-Day dot style to create
a three-dimensional expression of his prints and paintings.
Wayne Thiebaud has turned his gaze to the still life as well.
However, he eschews the Pop aesthetic of smooth, glossy
surfaces for a more tactile approach, evident in the rich burr
of his drypointed lines in Delights, an album of seventeen
intaglio prints. Thiebaud often worked beside his colleague
and friend Beth Van Hoesen, whose own portraits of food
share a graceful linear quality.
Mary Corita Kent advanced food as a catalyst for change in
her screenprint of 1967, Fresh Bread, A Secret Agent, where
she muses, “What kind of a revolution would it be if all the
people in the whole world would sit around in a circle and
eat together?”
Today, artists are deeply engaged with the politics and
production of food. Sue Coe advocates for a vegan diet
and champions the rights of animals in work such as Feed
Lot and Standing Pig, recent acquisitions of the Portland Art
Museum. Poster artists, too, sound the call to action, as in
David Lance Goines’s Sauvez les poisons (Save the Fish) and
Grow What You Eat. Here in the Pacific Northwest, where
residents enjoy a bounty of local and organic produce, meat,
and wine, graphic artist Joe Wirtheim encourages his
Pop artists focused on the actual foodstuffs, while other
artists have examined the people at the meal and the social
atmosphere that surrounds them. George Grosz encapsulated the corruption and decadence of Weimar Germany in
his drawing Geselligkeit (Dinner Party), in which nine diners
engage in conversation around a table loaded with delicacies. Adolf Dehn later delineated the lively chatter of two
middle-class ladies in Watermelon Eaters. Philip Evergood’s
Still Life focuses instead on the gulf of silence separating an
affluent couple, and in Glen Alps’s Ferry Boat Café, there is
no escaping the isolation of the commuting diners.
6 Leonetto Cappiello
37 Jean‑François Millet
touch. Leonetto Cappiello used a similar, although more
modest approach, in his poster for Contratto, in which a
young woman holds up an oversized glass of champagne.
Indeed, artists frequently mix food and sex into a potent
visual cocktail, inflaming one sense by fanning another, an
effect perfectly and ironically captured by contemporary
American artist Mel Ramos in Miss Fruit Salad from 1990.
Social isolation prevails, as well, in the young Pablo
Picasso’s Le Repas frugal (The Frugal Repast), among
the most iconic representations of the despair of hunger.
Although not produced as a political statement, it shares the
power one sees in the work of Käthe Kollwitz, a graphic artist
and activist who turned her attention to the least fortunate
in German society. Bettelnde (Beggars) and Deutschlands
Kinder hungern! (Germany’s Children Are Starving!) were
both published in 1924, a time when inflation threatened the
daily lives of thousands of Germans. More recently, Sister
41 Claes Oldenberg
10 Sue Coe
fellow Portlanders with posters inspired by the classic
designs of World War I victory-garden broadsides to plant
urban gardens and raise chickens. Traveling a broad course
from the field workers of Millet to the fast-food abundance
of the Pop artists, people are returning to a local, sustainable
model of eating. Feast and Famine offers a look at the pleasures and politics of food, one bite at a time.
—Mary Weaver Chapin, Ph.D.
Curator of Graphic Arts
1
Alexandra R. Murphy, ed., Jean-François Millet: Drawn Into the Light (Williamstown, MA: Sterling and Francine Clark
Art Institute, 1999), p. 81.
2
John Wilmerding, The Pop Object: The Still Life Tradition in Pop Art (New York, NY: Acquavella Gallery and Rizzoli,
2013), p. 11.

Feast and FaMine - Portland Art Museum`s Online Collections

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