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s2e34 History of Prints William Hogarth (part two)
Manage episode 452060823 series 3486239
In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art. We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society’s faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment.
Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.
Useful Links
Harlot’s Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ
Harlot’s Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF
Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY
After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection.
Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris.
Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris.
Inigo Jones (British, 1573–1652). Banqueting House, 1622. London.
William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Series of 8 paintings. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London.
After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master’s Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis.
George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis.
George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis.
William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.
141 episodes
Manage episode 452060823 series 3486239
In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art. We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society’s faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment.
Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.
Useful Links
Harlot’s Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ
Harlot’s Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF
Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY
After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection.
Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris.
Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris.
Inigo Jones (British, 1573–1652). Banqueting House, 1622. London.
William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Series of 8 paintings. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London.
After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master’s Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis.
George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis.
George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis.
William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.
141 episodes
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1 s3e85 printing vintage semiconductors with artist Deb Puretz 1:04:26

1 s3e84 printing in plaster with artist Jonathan Beaumont Thomas 1:16:56

1 s3e83 solarplate etching with Dan Welden 1:10:10

1 s3e82 topology- and philosophy-imbued domestic scenes with Ellen Heck 1:01:04

1 s3e81 building and fixing presses with Mike Stark 1:03:10

1 s3e80 melding printing and publishing with curatorial work with Mae Shore 1:02:37

1 s3e79 contemporary Japanese prints with Michael Verne 1:08:53

1 s3e78 electronic arts in printmaking with Myles Calvert 1:12:04

1 s3e77 documenting the printmaking ecosystem with Susan Goldman 1:06:24

1 s3e76 the print studio as sanctuary with Bryan Raymundo 1:05:08

1 s3e75 posters vs prints with Angelina Lippert 1:00:18

1 s3e74 Dürer's connection to the Islamic East with Susan Dackerman 1:03:40

1 s3e73 seeking a higher meaning in art with artist-activist Art Hazelwood 1:08:10

1 s3e72 on color and abstraction with Jonathan Higgins, owner of Manneken Press 1:11:01

1 s3e71 double-drop printing with artist Art Werger 1:17:16

1 s3e70 deep deep dive on screenprinting with Leslie Diuguid 1:32:54

1 s3e69 on establishing non-and for-profit printmaking workshops with Cole Rogers 1:00:52

1 s2e34 History of Prints William Hogarth (part two) 1:47:40

1 s3e68 editioning digital embroidery with printer Judith Solodkin 1:09:46

1 s2e33 History of Prints William Hogarth (part one) 2:01:44

1 s3e67 on being artist and curator with Amy N. Worthen 1:02:50

1 s3e66 Contact: Art and the Pull of Print with Jennifer Roberts 1:12:26

1 History of Prints Bonus Episode Our Art Origins 37:45

1 s3e65 behind the scenes with conservator Alison Luxner 1:11:52

1 s2e32 History of Prints Maria Sibylla Merian 1:30:27

1 s3e64 starting a printshop with Jenny Robinson 1:18:21

1 s3e63 multi-plate color etching with printer Peter Pettengill 1:35:55

1 s3e62 the humanness of pattern with Teresa Cole 1:00:04

1 s3e61 artist Annalise Gratovich on chine collé 1:12:25

1 s2e31 History of Prints The Enlightenment (part two) 1:59:52

1 s2e30 History of Prints The Enlightenment (part one) 1:38:24

1 s3e60 deep dive on Dox Thrash with dealer Ron Rumford 1:07:49

1 s3e59 satirical etchings with artist David Avery 56:06

1 s3e58 marble lithography with artist Anna Trojanowska 55:39

1 s3e57 unique reduction woodcuts with artist Karen Kunc 1:01:38

1 s3e56 word-salad screenprints with artist Briar Craig 59:57

1 s3e54 domesticity and wallpaper with artist/engraver Andrew Raftery 1:14:45

1 s3e53 mezzotint technique and history with artist and author Carol Wax (part two) 52:36

1 s3e52 mezzotint history and technique with artist Carol Wax (part one) 1:03:20

1 s3e51 inside Gemini G.E.L. at Joni Moisant Weyl with Chris Santa Maria 1:23:43

1 s3e50 contemporary Japanese prints with dealer Allison Tolman 1:08:05

1 s3e49 making lithographs at Tamarind with printer Valpuri Remling 1:27:29

1 s3e48 lithography deep dive with printer/publisher Deb Chaney 1:29:09

1 s3e47 behind-the-scenes at Rago Auctions with Adam McCoy 1:21:09

1 s3e46 engraving deep dive with Latvian artist, Reinis Gailitis 1:37:49

1 s3e45 singer-songwriter Bob Schneider's etchings 1:30:03

1 s3e44 on the importance of art in hospitals for patients and staff with Naomi Huth, director of art collection and curator, NYC Health + Hospitals 1:02:06

1 s3e43 printer Craig Zammiello on collaborating with Johns, Rauschenberg, and others 1:06:49

1 s3e42 Margaret Lowengrund and The Contemporaries with curators Lauren Rosenblum and Christina Weyl 57:06

1 s3e41 Art in Print editor Susan Tallman on loving amiguity in art 1:21:35

1 s3e40 starting a new printshop in Brooklyn at Powerhouse Arts with Luther Davis 1:39:58

1 Powerhouse Arts Printshop's Luther Davis on Hello, Print Friend 59:35

1 HoP deep dive on ONE PRINT: Käthe Kollwitz, Battlefield 1:33:13

1 s3e39 social justice and satire with artist Sue Coe 1:25:48

1 s3e38 on working with William Kentridge with printer Jillian Ross 1:28:02

1 s3e37 printer Phil Sanders on the future of the printmaking ecosystem (part two) 1:07:31

1 s3e36 printmaking ecosytem forecast with printer Phil Sanders (part one) 1:09:34

1 s3e35 behind-the-scenes at ULAE with director Larissa Goldston 1:01:00

1 s3e34 electrolytic etching with artist Jason Scuilla 1:28:59

1 s3e33 one of Jim Dine's favorite printers, Ruth Lingen 1:07:51


1 s3e32 all about intaglio prints, materials and techiniques, and history with Ad Stijnman 1:15:00

1 s2e29 History of Prints Claude Lorrain 1:30:16

1 s3e31 photogravure deep dive with artist Lothar Osterburg 1:13:10


1 s3e30 on being a beloved National Gallery curator with Ruth Fine 1:09:35

1 s3e29 mokuhanga deep dive with artist April Vollmer 1:08:04

1 s3e28 on writing THE print history textbook with Linda Hults, art historian 57:24

1 s3e27 processing inherited trauma of internment camps through art with Emma Nishimura 49:54

1 s3e26 on illustrating You Gotta Meet Mr. Pierce! with artist Jennifer Mack-Watkins 1:05:15

1 s3e25 lithography deep dive with artist Michael Barnes 1:04:18

1 s2e28 History of Prints Claude Mellan (part two) 47:21

1 s3e24 on being THAT professor for so many with curator Steve Goddard 1:07:39

1 s2e27 History of Prints Claude Mellan (part one) 1:05:17

1 s3e23 on running a not-for-profit art center with Kimberly Henrikson, Center for Contemporary Printmaking 1:09:33

1 s2e26 History of Prints Jacques Callot (part two) 44:51

1 s3e22 on running The Gallery at The Met Store with Laura Einstein 56:46

1 s2e25 History of Prints Jacques Callot (part one) 57:05

1 s3e21 on starting a print publishing business with Pam Paulson, Paulson Fontaine Press 59:16

1 s3e20 on the joy of discovery in museum storerooms with curator Kimberli Gant, Brooklyn Museum 1:02:06

1 s2e24 History of Prints Reproductive Prints (part four) 1:03:45

1 s3e19 printing leads to collecting with Maryanne Ellison Simmons 47:06

1 s3e18 representing artist estates with dealer Susan Teller 1:02:18

1 s2e23 History of Prints Reproductive Prints (part three) 1:03:52

1 s3e17 on the early days of print fairs with dealer Jeannot Barr 58:40

1 S3e16 on taking in a Shark's Ink's archive with curator Hope Saska 40:27

1 s3e15 on printing for Jim Dine with printer Julia D'Amario 1:15:08

1 s3e14 engraving deep dive with artists James Ehlers 1:05:49

1 s2e22 History of Prints Reproductive Prints (part two) 34:31

1 s3e13 woodcut altarpieces with artist Tom Hück 1:04:56

1 s2e21 History of Prints Reproductive Prints (part one) 1:17:11

1 s3e12 politics and prints in the Dutch Republic with curator Maureen Warren 1:00:23

1 s3e11 woodblock matrices as art with artist LaToya M. Hobbs 59:55

1 s3e10 making etching color palettes for artists with printer Julia Samuels, Overpass Projects 1:14:26

1 s3e9 exquisite corpse-like prints with artists James Siena and Katia Santibañez 1:24:09

1 s3e8 on creating with our subconscious minds with artist Dave Cloutier 1:01:14

1 s3e7 behind the scenes at the Saint Louis Art Museum with curator Elizabeth Wyckoff 46:12

1 s3e6 on collborative printing at Pace Prints with printer Bill Hall 1:14:50

1 s3e5 on supporting the printmaking ecosystem with podcaster Miranda Metcalf 1:07:25

1 s3e4 badboy artist Tom Hück on his satirical, monumental woodcuts 1:17:16

1 s3e3 on Israel van Meckenem with curator James Wehn 31:49

1 s3e2 on dream team Joe Freye, Jason Ruhl, and Patrick Smyczek, collaborative printers at Tandem Press 55:17

1 s3e1 on transforming the art landscape in Madison with Paula Panczenko and Russell Panczenko 53:34

1 s2e20 History of Prints Rembrandt (religious scenes) 1:41:43

1 s2e19 History of Prints Rembrandt (genre scenes and portraits) 1:01:56

1 s2e18 History of Prints Rembrandt (landscapes) 1:04:41

1 s2e17 History of Prints Hendrick Goltzius 1:11:41

1 s2e16 History of Prints Pieter Brueghel the Elder 1:19:04

1 s2e15 History of Prints The Protestant Reformation (part two) 33:38

1 s2ep14 History of Prints The Protestant Reformation (part one) 45:53

1 s2e13 History of Prints The Italians (Ghisi and Barocci) 1:19:02


1 s2e12 History of Prints The Italians (Titian) 1:16:02

1 s2e11 History of Prints The Italians (Parmigianino) 1:27:18

1 BONUS EP History of Prints Tru's Artist's Manifesto 56:53

1 s2e10 History of Prints The Italians (MarcAntonio Raimondi) 1:30:16

1 s2e9 History of Prints The Italians (Mantegna) 1:03:41

1 s2e8 History of Prints The Italians (Pollaiuolo) 1:06:18

1 s2e7 History of Prints Techniques: Intaglio 32:37


1 s2e5 History of Prints Materials: Paper and Ink 26:45

1 s2e4 History of Prints Albrecht Dürer (part two) 1:40:53

1 BONUS EP History of Prints Ann and Tru's Art Origins 36:19

1 s2e3 History of Prints Albrecht Dürer (part one) 1:23:54





1 Bonus Episode: introducing The Curator's Choice 2:11











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