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Colescott, Warrington Family Night at Fred's Pleasure Club

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Warrington Colescott
Born

Warrington Wickham Colescott Jr.


(1921-03-07)March 7, 1921

Oakland, California, U.S.
Died September x, 2018(2018-09-x) (aged 97)

Hollandale, Wisconsin, U.S.
Teaching University of California, Berkeley
Occupation Artist
Spouse(s) Vera Sedloff (div.)
Ellen Moore (div.)
Frances Myers
Children three

Warrington Wickham Colescott Jr. (March 7, 1921 – September 10, 2018) was an American artist, he is best known for his satirical etchings. He was a chief printmaker and operated Mantegna Press in Hollandale, Wisconsin.[one] Colescott died on 10 September 2018, at the historic period of 97.[2]

Early life and influences [edit]

Colescott was born in Oakland, California, in 1921 to parents of Louisiana Creole descent. His blood brother, artist Robert Colescott, was built-in in 1925. Creole culture—which the artist described every bit "a rich tradition of cuisine and music, of skeptical judgments, of irony and humor in expression"[3] —played a big office in family life. Both food and music were key components of his upbringing. Comic strips were also important to the young Colescott, particularly the work of Jay "Ding" Darling; the caricatural and narrative components would greatly influence his mature work.[4] Equally a teenager, Colescott discovered vaudeville and the burlesque at the Ruby Manufacturing plant/Moulin Rouge theater on 8th Street in Oakland. The broad humor and slapstick, besides every bit the eroticism of the burlesque performances, would inform his fine art and humor throughout his career.[5]

Instruction [edit]

Colescott earned his undergraduate degree at the University of California, Berkeley, graduating in the summer of 1942. At Berkeley, he majored in fine fine art, and was active with the university humour magazine, the Pelican, besides as the university newspaper, The Daily Californian, submitting cartoons and writing for both publications. He served in the army[6] in World War Two from 1942 to 1946, so returned to Berkeley to take a principal's degree in fine arts and to earn a teaching certificate. Colescott taught art at Long Embankment City College from 1947 to 1949. In September 1949, he began his career at the Academy of Wisconsin–Madison, where he taught for 37 years, retiring in 1986. During those years, Colescott continued his education in Europe, first on the GI Bill to written report at the Académie de la Grande Chaumière, Paris, in 1952–53 and once more on several fellowships and awards: in 1956–57, he was a Fulbright Swain at the Slade School of Fine Fine art, Academy of London, and in 1963, he returned to London on a Guggenheim Fellowship.

Mature piece of work [edit]

Colescott had studied painting at the University of California, Berkeley, and only began to make screenprints in 1948 while he was teaching at Long Beach City Higher. He continued to pigment, draw, and brand screenprints when he moved to Madison to teach drawing and design at the Academy of Wisconsin. The art faculty at Madison included several members who were both painters and printmakers, including Dean Meeker, Alfred Sessler, and John Wilde.[7] Sessler introduced Colescott to etching in the mid-1950s, and Colescott furthered his educational activity in the medium at the Slade School of Art in London, studying with Anthony Gross. During that fourth dimension, Colescott experimented with difficult-basis etching while continuing his screenprinting; in a few instances, he combined the two media, as in Night Wings from 1957.

By the early 1960s, Colescott had all but abandoned screenprinting, devoting his time, rather, to complex etchings in color. He achieved a major breakthrough in his work when he began to cutting and shape the copper carving plates with mechanics' shears.[eight] In addition, he started incorporating bits of letterpress (typically zinc letterpress used for newspaper printing) and recycled etching plates into his compositions.[9] At the same fourth dimension, his work became less abstract and more narrative in nature, which immune him to unleash his satirical talents in piece of work such as In Birmingham Jail (1963), which is based on the ceremonious rights struggles in the Southward, and lambastes the racism and violence of a corrupt system;[10] or Christmas with Ziggy (1964), a social satire of businessmen entertaining their mistresses at a posh London eating house.[eleven] That aforementioned twelvemonth, Colescott began an etching near the Depression-era gangster, John Dillinger, which grew into a suite of images mixing fact and fiction most the subcontract boy-turned-outlaw who mesmerized the public in the 1930s. "A storyteller who skips all the dull parts," as writer and curator Gene Baro has called him, Colescott had no attrition virtually enhancing the narratives with imagined details and anachronistic additions.[12]

Colescott's mature style found fruition in his serial Prime-Fourth dimension Histories: Colescott's USA (1972–73) followed by The History of Printmaking (1975–78), perhaps Colescott's best-known piece of work. In this suite of images, which includes twenty-one intaglio prints, two lithographs, and a handful of watercolors and drawings, Colescott imagines critical moments in the history of printmaking. In each print, Colescott starts with historical fact, and then adds his own interpretation, often borrowing from the featured creative person's own style or themes.[13] For instance, in one scene we witness Alois Senefelder, the inventor of lithography, receiving the secrets of this medium from devilish creatures in the Black Wood; in another plate, Colescott imagines Pablo Picasso at the zoo, admiring animals such equally the minotaur that recurs in his piece of work. For his riff on Henri de Toulouse-Lautrec, Colescott imagines the fin-de-siècle artist (and enthusiastic chef) in his kitchen, whipping up a lunch for his friends, characters from Lautrec's oeuvre. In 1992, he returned again to an art-historical theme in My German Trip, in which Colescott imagines encounters with the great German printmakers Albrecht Dürer, Käthe Kollwitz, Otto Dix, George Grosz, and members of the German Expressionists, with highly comic results.[14]

More satires and fictional histories take followed. Since the 1970s, Colescott has connected to pursue social satire in his work. As fine art historian Richard Cox has written, Colescott casts his net broad: "Greed vanity, pride, lust, social ambition, airheaded fads, and fashions—[Colescott] adapted the traditional targets of artists and writers every bit his ain. With wit and disarming humour he has drawn many entertaining and zany prints, everything from good-natured spoofs to harsh, stinging parodies. Greek gods, American presidents, paper tycoons, academics, gangsters, cops, cowboys and Indians, Pilgrims, accountants, scientists, generals, joggers, hunters, prove girls, picture show stars, the artist himself—you name information technology, all have been skewered by Colescott's needle."[xv]

Recurrent themes since the tardily 1980s evidence a different focus. These include caricatural, pop culture, and the afterlife (see The Last Judgement triptych, 1987–88). The creative person also focuses on some of his favorite locales, such as California (his birthplace), Wisconsin (where he resides), and New Orleans, the dwelling of his Creole ancestors, as seen in his contempo serial, Suite Louisiana. Colescott has turned his attention to the conflicts in Iraq and Afghanistan in prints including Imperium: Imperial Lancers Attack Wog Armor—Heartland Saved (2005) and Imperium: Down in the Greenish Zone (2006).

Collections [edit]

Colescott's work is in museum collections across the United States and Europe, including the Art Found of Chicago, Metropolitan Museum of Art, Whitney Museum of American Art, Museum of Mod Art, National Gallery of Art, New York Public Library, Victoria and Albert Museum, Tate, Columbus Museum of Art, and the Bibliothèque Nationale de France, among others. In his home state of Wisconsin, numerous institutions hold his work; these include the Chazen Museum of Art in Madison, the Madison Museum of Contemporary Fine art, the Museum of Wisconsin Art in Westward Bend, the Racine Art Museum, and the Milwaukee Art Museum, which has the largest drove of his piece of work in the earth, numbering more 250 prints, drawings, and paintings.

Exhibitions and publications [edit]

Colescott has exhibited in numerous grouping exhibitions and ane-man shows. Amid the nearly of import are the exhibition A History of Printmaking originated by the Madison Art Center in 1979, which traveled to many subsequent venues; the retrospective at the Elvehjem Museum of Art (now known equally the Chazen Museum of Art) at the University of Wisconsin–Madison in 1988–89, which was accompanied by the publication Warrington Colescott: Forty Years of Printmaking, A Retrospective, 1948–1988 [16] and a retrospective at the Milwaukee Fine art Museum in 1995, which published a small catalogue Warrington Colescott.[17] A major retrospective of Colescott'south graphic oeuvre will be presented at the Milwaukee Art Museum June ten – September 26, 2010. A total catalogue raisonné of Colescott'southward graphic works co-published by the Milwaukee Art Museum and the University of Wisconsin Printing accompanies the exhibition. Read more than virtually the catalogue or purchase it from the Academy of Wisconsin Press [two] or the Milwaukee Art Museum Shop.[3]

Critical reception [edit]

Colescott beginning gained critical observe in the 1950s, when he was included in the Young American Printmakers exhibition at the Museum of Modern Fine art, New York, in 1953, and in shows at the Whitney Museum of American Art in 1955 and 1956.[eighteen] He exhibited oftentimes throughout the subsequent decades and was honored with numerous grants, fellowships, and awards (encounter beneath). Critics liken Colescott'due south piece of work to his contemporaries as well every bit celebrated antecedents; as fine art critic Mario Naves has summarized, "Mr. Colescott is not a satirist, cartoonist or Ruby Grooms, though he resembles each. (…) He's a mischievous humanist with a bottomless appreciation for the absurdities of life and…the afterlife. He'southward equally many-sided and unsentimental as Twain, Hogarth or Bosch."[xix] This has earned him the nickname "the modern Hogarth."[20] Others have compared his graphic mode, as well as his mixture of satire and humanism, to artists of preceding generations, such as Francisco Goya, Honoré Daumier, Max Beckmann, and George Grosz.[21] "Imagine a lumpish amalgamation of Saul Steinberg and George Grosz, leavened with Red Grooms and peppered with Mel Brooks, and you volition have some idea of the erudite slapstick Mr. Colescott engages in."[22]

Honors [edit]

Colescott has been recognized by several major honors and fellowships. These include a Fulbright Fellowship to England in 1957, a John Simon Guggenheim Memorial Foundation Fellowship in 1965, and fellowships from the National Endowment for the Arts in 1979 and 1983. He is a Swain of the Wisconsin Academy of Sciences, Arts, and Letters, and was named an Academician of the National University of Blueprint in 1992.

Notes [edit]

  1. ^ "Mantegna Press". The National Gallery of Art . Retrieved July 31, 2021. {{cite web}}: CS1 maint: url-status (link)
  2. ^ Warrington Colescott obituary
  3. ^ Mary Weaver Chapin, The Prints of Warrington Colescott: A Catalogue Raisonné, 1948–2008. University of Wisconsin Printing and the Milwaukee Art Museum, 2010, p. 2.
  4. ^ Chapin, p. 3
  5. ^ Chapin, p. 4. See also Richard Cox, "Forty Years of Printmaking," in Warrington Colescott: Forty Years of Printmaking: A Retrospective, 1948–1988. Madison: Elvehjem Museum of Art, University of Wisconsin–Madison, 1989, p. four.
  6. ^ "Warrington Colescott". Retrieved Dec nineteen, 2017.
  7. ^ See Chapin, p. 9.
  8. ^ Encounter Chapin, p. 28
  9. ^ Chapin, p. 29. On Colescott's technique in full general, see Carlton Overland, "A Printmaker's Progress," in Warrington Colescott: Xl Years of Printmaking: A Retrospective, 1948–1988. Madison: Elvehjem Museum of Fine art, Academy of Wisconsin–Madison, 1989, pp. 21–24.
  10. ^ Chapin, p. 29
  11. ^ Chapin, p. 118
  12. ^ Gene Baro, "From a Conversation: Warrington Colescott and Gene Baro" in A History of Printmaking: A Traveling Exhibition of the Madison Art Centre, June 15 – July 29, 1979 (Madison, Wis.: Madison Art Center, 1979), n.p.
  13. ^ Cox, pp. fifteen–16
  14. ^ Meet Colescott'due south article virtually the genesis of this serial, "Galleria: My German language Trip." Wisconsin Academy Review 39, no. 2 (1993): 10–thirteen. [i]
  15. ^ Richard Cox, "Warrington Colescott" in Warrington Colescott: 40 Years of Printmaking: A Retrospective, 1948–1988. Madison: Elvehjem Museum of Art, University of Wisconsin–Madison, 1989, p. three.
  16. ^ worldcat record #19887307
  17. ^ worldcat record #35671261
  18. ^ Chapin, p. 11
  19. ^ Mario Naves, "Surely He Jests," The New York Observer, March 26, 2006
  20. ^ "Colescott's Prints Invite You In". Wisconsin State Journal. Apr 13, 2006. p. 78. Retrieved May 29, 2018 – via Newspapers.com. open access
  21. ^ Cox, p. three
  22. ^ Mario Naves, The New York Observer, September 12, 2004.

Further reading [edit]

  • Colescott, Warrington (1988); Warrington Colescott: Xl Years of Printmaking: A Retrospective, 1948–1988. Madison: Elvehjem Museum of Art, University of Wisconsin–Madison, 1989. ISBN 0932900194
  • Antreasian, Garo. "Warrington Colescott, 40 Years of Printmaking: A Retrospective, 1948–1988." The Tamarind Papers 12 (1989): 78–79.
  • Cox, Richard. "Warrington Colescott: The London Years, 1956–1966." The Tamarind Papers 14 (1991–92): 70–74.
  • Colescott, Warrington; "Galleria: My German Trip." Wisconsin Academy Review 39, no. 2 (1993): 10–13. [4]
  • ———."Warrington Colescott actualise 'Une Histoire de la Gravure.'" Nouvelles de 50'estampe (October 1994): 53–56.
  • Gilmour, Pat. "The Discriminating Exaggeration of the Truthful." In Warrington Colescott, 6–15. Milwaukee: Milwaukee Fine art Museum, 1996.
  • Warrington Colescott. Milwaukee: Milwaukee Fine art Museum, 1996.
  • Colescott, Warrington; Werner, Bill; Auer, James (1998); Etched in Acrid Warrington Colescott. [Milwaukee, Wis.]: Milwaukee Public Tv
  • Colescot, Warrington; Hove, Arthur (1999); Progressive Printmakers: Wisconsin Artists and the Print Renaissance, University of Wisconsin Press; illustrated edition. ISBN 0299161102 [5]
  • Cartlidge, David R; Elliot, J Keith (2001); Art and the Christian Apocrypha, Routledge 1st edition; Warrington Colescott pp. 160–162. ISBN 0415233925
  • Edson, Garry; Howe, A Isabelle (2003); Lynwood Kreneck, Printmaker, Texas Tech Press,U.Due south.; 1st edition; Warrington Colescott pp. 69, 71, 72, 76. ISBN 0896725057
  • Chapin, Mary Weaver (2010); The Prints of Warrington Colescott: A Catalogue Raisonné, 1948–2008. Academy of Wisconsin Press and the Milwaukee Fine art Museum. ISBN 0299233006 [6]

External links [edit]

  • Milwaukee Art Museum [7]
  • Annex Galleries [8]
  • Colescott at Tate [9]
  • Spaightwood Galleries [10]
  • Wisconsin Visual Arts Lifetime Achievement Awards [xi]
  • Peltz Gallery, Milwaukee [12]
  • Perimeter Gallery [13]
  • Grace Chosy Gallery, Madison, Wisconsin [14]
  • Academy of Wisconsin Press [15]

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Source: https://en.wikipedia.org/wiki/Warrington_Colescott

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