Edvard Munch, 1863 - 1944
Mrs. Marie Linde (Frau Marie Linde)
lithograph printed in black on Japan paper, 1902
(Woll, 224; Schieffler, 197)
Dr. Max Linde, a German eye specialist, was Edvard Munch’s first truly important patron. Linde’s fortune came from his wife, Marie Linde, nee Holthusen, the daughter of a senator. Marie’s money enabled Max to purchase the stately Schramm Residence on Ratzeburger Allée in Lübeck and to fill it with a first-class collection of modern French art. Linde also had a 12-acre park around the residence, including a formal garden installed with Rodin sculptures from his collection.
Dr. Linde became interested in Munch around 1902, and obtained a nearly complete collection of the artist’s graphic work up to that point by paying off Munch’s printers—Otto Felsing and Lassally—who held on to a considerable stock of the artist’s prints due to unpaid bills. In a letter to Munch, Linde announced he had already written a book about the artist, Edvard Munch and the Art of the Future, and asked Munch to come to his home in Lübeck and create prints of his family and the estate. What resulted was a group of portraits of members of the Linde family—Dr. Linde, Marie, and their four young sons in etching, drypoint, and, lithography as well as depictions of Linde’s home and its environs. Dr. Linde took an active role in suggesting subjects to Munch as well as advising on finished states of the prints. The group of works became known as the Linde Portfolio, although according to Gustav Schiefler, only 13 portfolios were printed, and the stones and plates Munch made for the prints remained in Linde’s own possession.
Our lithograph is one of five graphic portraits that Munch completed of Mrs. Linde in 1902, and it is the largest, depicting her at almost full length. Although her face is quite similar to a drypoint portrait done at the same time (Woll 224), at three-quarter length she appears a much more imposing figure, a pillar in black, further attenuated by the faint framing lines Munch has drawn on either side that hem her in. The lithographic tusche that the artist has used to define the outlines of Marie Linde’s dress set her off like a silhouette against the bright white of the thin Japan paper. Though this might seem like a rather formal commissioned portrait, the psychological angst characteristic of Munch’s best work lingers just below the surface of Marie Linde’s flat and unsmiling expression.
Corita Kent, 1918 - 1986
News of the Week, 1969
22.5 x 11.5 in. (57.2 x 29.2 cm)
News of the Week exemplifies Corita Kent’s activist art. Presented in striking colors in an unusual double-square, vertical format, the print combines images from mass media with handwritten text—hallmarks of Kent’s signature style. The image was produced in 1969, a year after Kent left the Order of the Immaculate Heart of Mary in Los Angeles, where she had been Sister Mary Corita, teacher and chairman of the Art Department at Immaculate Heart College.
In the upper two-thirds of the image, printed in red, Kent appropriates a Newsweek magazine cover from 1965 with a photograph of a U.S. soldier restraining a presumed Viet Cong fighter. In the bottom third of the image, printed in bright green, Kent incorporates three distinct images including an excerpt from Walt Whitman’s poem Song of Myself, which describes the suffering of a slave in the first person. At center is the diagram of a slave ship’s hull, depicting the inhuman way black bodies were arranged for transport from Africa, packed as tightly as possible for maximum efficiency. Kent’s visual and textual equation between the Vietnam War and America’s “original sin” of slavery underscores her unequivocal objection to the U.S. war in Vietnam. By 1969, popular sentiment had also shifted as progress proved elusive and the public became increasing disillusioned with the human cost of war.
News of the Week was selected for acquisition by students in Professor Derrick Cartwright’s Spring 2014 seminar, Sacred Things, and purchased with help from the Legler Benbough Foundation. In 2013, the Legler Benbough Foundation established an endowment to give USD students the opportunity to select works for the Print Collection. Since that time, four student-driven acquisitions have been made with these funds.
Claire Reid, University Galleries Summer 2015 Intern
Glenn Ligon (b. 1960)
31 x 23 cm (image size)
Edition # 21 of 50
Detail by Glenn Ligon recently entered the print collection at USD, adding to our growing collection of works by African-American artists. Ligon, a conceptual artist who works in a variety of media, often appropriates texts—from snippets lifted from canonical literature to historical accounts to ephemera—to probe the troubling and contested history of race and identity in the United States. Ligon has discussed his work on one level as “a text with different levels of legibility.” For Detail, a screenprint, Ligon appropriated the testimony of six black teens beaten by the police during a race riot in Harlem in 1964. A close-up of text taken from these accounts, the title is, in part, blandly descriptive, but it is also ironic: this close look obscures far more than it reveals. The work, printed in three colors in shades from matte to gloss, is a palimpsest of black on black on black on white. The words have been all but obliterated by this overprinting, offering, at first glance at least, a pleasing abstraction. But as the viewer changes her position, viewing the work from the side or pulling back, words begin to emerge from the background. Perhaps, then, the title is not so ironic after all, as it is a work that is most revealing and most rewarding when viewed carefully, from different perspectives, and in person. Come visit it in the Hoehn Print Study Room in Founders Hall 102 and give it a closer look.
Erin Sullivan Maynes, Hoehn Curatorial Fellow for Prints
Eddie J. Encinas Jr., (Gahi’gezhinga)
Little Chief, Omaha
Colored Pencils on ledger
11 ¾” x 14 ¼”
This ledger drawing was created by Eddie Encinas, of the Omaha tribe, and was acquired directly from the artist at the Heard Museum Indian Market in March 2014. Encinas utilizes the nineteenth century Plains Indians’ tradition of “ledger drawings” as his medium. These historical works were created with colored pencil, ink, and watercolor; usually on old documents or cloth. Ledger drawings have long been a way to represent a narrative event or personal history, without the need for verbalization or detailed backgrounds. This drawing is currently on view in the David W. May American Indian Gallery as a part of the exhibition, Horses in American Indian Culture.
Joyce Antorietto, Collections Manager, David W. May Anthropology Collection