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Prints and Drawings

The Gallery’s collection of prints and drawings comprises approximately 29,000 prints and over 11,000 drawings and watercolors from the 15th century to the present, with highlights including a large group of prints and drawings from the early modern period, a recently acquired group of 18th-century Italian and 19th-century French prints, American works from the 19th through the early 20th century, and around 800 works of postwar art acquired within the last decade.
L'écho (Echo), study for Une baignade, Asnières (Bathers at Asnières)
Boîte-en-valise (Box in a Valise)
Prostitution universelle (Universal Prostitution)
Mary, Queen of Scots
Massacre of the Innocents
Tête de Flore (Head of Flora)

About Prints and Drawings

The Yale University Art Gallery’s collection contains about 29,000 prints and over 11,000 drawings and watercolors, ranging in date from the 15th century to the present. Particular strengths include the Arthur Ross Collection, with about 1,000 prints by 18th-century Italian and 19th-century French artists as well as the Spanish artist Francisco Goya; over 600 prints and drawings from the early modern period, including German Expressionism, most of which came to the Gallery as part of the Société Anonyme Collection; a sizable selection of American watercolors, prints, and artists’ sketchbooks from the 19th through the early 20th century; and some 800 works by artists of the second half of the 20th century from the collections of Richard Brown Baker, B.A. 1935; Charles B. Benenson, B.A. 1933; Susan and Arthur Fleischer, Jr., B.A. 1953, LL.B. 1958; and Sally and Wynn Kramarsky. The Department of Prints and Drawings is also the world’s largest institutional repository of Sol LeWitt wall drawings and is the home of the Sol LeWitt Wall Drawing Archive and Study Center.

Other highlights are extraordinary prints by the Old Master printmakers Albrecht Dürer and Rembrandt van Rijn, an exemplary group of Dutch and Flemish 16th- and 17th-century drawings that constitute a study collection with few rivals in the United States, and a strong collection of printed portraits from the 16th to the 18th century. Recently, additions of Giorgio Ghisi’s engraving after Michelangelo’s Last Judgment, Michele Marieschi’s views of Venice, Filippo Morghen’s Voyage to the Moon, a series of etchings by Ange-Laurent de La Live de Jully after Jacques François Saly, and Tête de Flore by Louis-Marin Bonnet have substantially enhanced the collection. Among numerous 19th-century French drawings are stunning examples by Eugène Delacroix, Édouard Manet, Edgar Degas, Auguste Rodin, Georges Seurat, and Édouard Vuillard.

The Gallery also holds an extensive collection of drawings by the American Pre-Raphaelite artist Edwin Austin Abbey and virtually all the lithographs by two 19th-century French artists, Théodore Géricault and Paul Gavarni. In recent decades, the Gallery has acquired works by many contemporary artists, including Georg Baselitz, Gerhard Richter, and William Kentridge, and a number of important examples of 20th-century collage.

Note from the Curator

Recently installed in the modern and contemporary art galleries, Dieter Roth’s 6 Piccadillies (1970) pushed the boundaries of screenprinting technologies of the time. Formally complex and technically innovative, this suite of six prints plays with our perception and with questions of legibility. How do alterations in color and texture affect our reading of a picture? How far can a picture—even a picture of a widely recognizable place—be abstracted before it is rendered illegible? The Piccadillies project began with a picture postcard of the iconic Piccadilly Circus in London, which was taken from a bird’s-eye view and features a diagonal procession of three double-decker buses driving past the statue of Eros at the center of the circle. For the series, Roth enlarged the postcard image to 16 times its original size and printed it in offset lithography. He then hand-manipulated six lithographic proofs with various viscous substances—such as glue, paint, tar, chocolate, and cocoa—challenging his master printer to create screenprinting inks that could mimic the aesthetic quality and heavy impasto of the organic substances. The result was overwhelmingly effective, with six playful, stylistic interpretations of Piccadilly Circus that suggest a range of weather conditions and moods.

Elisabeth (Lisa) Hodermarsky
The Sutphin Family Curator of Prints and Drawings

Dieter Roth, 6 Piccadillies, 1970. 6 offset lithographs with screenprinting, 1 with iron filings. Yale University Art Gallery, Katharine Ordway Fund

Dieter Roth, 6 Piccadillies, 1970. 6 offset lithographs with screenprinting, 1 with iron filings. Yale University Art Gallery, Katharine Ordway Fund

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Meet the Curators

Elisabeth (Lisa) Hodermarsky

Elisabeth (Lisa) Hodermarsky, the Sutphin Family Curator of Prints and Drawings at the Gallery, is a specialist in 19th- and 20th-century American art on paper, with a particular interest in prints and drawings. In her many years on staff at the Gallery, she has produced numerous exhibitions and publications, including Red Grooms: Larger than LifeConversations from the Print Studio: A Master Printer in Collaboration with Ten ArtistsJohn La Farge’s Second Paradise: Voyages in the South Seas, 1890–1891Appropriated Lands: Photography and the Great Surveys of the American West, 1867–1879; and The Synthetic Century: Collage from Cubism to Postmodernism; and she was a principal co-curator of The Critique of Reason: Romantic Art 1760–1860 and a principal coauthor of the exhibition catalogue Life, Liberty, and the Pursuit of Happiness: American Art from the Yale University Art Gallery.

lisa.hodermarsky@yale.edu

PDF icon Download Lisa Hodermarsky's CV

Elisabeth Hodermarsky

John Hogan

John Hogan is the Mary Jo and Ted Shen Installation Director and Archivist for Sol LeWitt Wall Drawings, a unique position established in 2013 that facilitates collaboration among conservators, curators, and artists. Hogan has been a principal draftsperson for Sol LeWitt since 1982; in this role, he has directed LeWitt wall-drawing installations in the United States and internationally, including the U.S. Mission to the United Nations, New York; the Centre Pompidou-Metz, France; Museum M, Leuven, Belgium; MASS MoCA (the Massachusetts Museum of Contemporary Art), North Adams; numerous private collections; and, most recently, the first LeWitt exhibition in Shanghai. He was closely involved in the review process for the publication of the Sol LeWitt Wall Drawing Catalogue Raisonné (Artifex Press, 2018). At the Gallery, Hogan co-organized the 2018 exhibition Sol LeWitt Wall Drawings: Expanding a Legacy. He also cocurated (with Benjamin Weil) the 2015–16 exhibition Sol LeWitt: 17 Wall Drawings, 1970–2015 at Fundación Botín, Santander, Spain.

john.hogan@yale.edu

John Hogan

Meet the Fellow

Elissa Watters

Elissa Watters is the Florence B. Selden Fellow, Department of Prints and Drawings. She earned a B.A. in English Literature from Dartmouth College, in Hanover, New Hampshire, and an M.A. in the History of Art from Williams College and the Sterling and Francine Clark Art Institute, in Williamstown, Massachusetts. Elissa coordinates visits to the James E. Duffy Study Room for Prints, Drawings, and Photographs for courses, students, scholars, and others who wish to view the Gallery’s prints and drawings collection. She occasionally teaches classes visiting the Duffy Study Room and regularly leads public tours of the prints and drawings collection. Elissa also helps catalogue new acquisitions in the department, is conducting ongoing research on several objects in the collection, and is contributing to a few upcoming Gallery publications.

elissa.watters@yale.edu

Elissa Watters

Related Resources

Sol LeWitt Wall Drawing Archive and Study Center

A unique resource for scholars, conservators, curators, and artists, the Sol LeWitt Wall Drawing Archive and Study Center is part of the Department of Prints and Drawings. This digital archive of materials from Sol LeWitt’s original files includes working drawings, catalogues, reviews, interviews, correspondence, photographs, and videos. It also houses documentation of contemporary installations of the works worldwide, including the training of new draftspeople in the materials and methodology required to properly execute the wall drawings in accordance with LeWitt’s systems.

Print Study Room

James E. Duffy Study Room

The James E. Duffy Study Room for Prints, Drawings, and Photographs is currently closed to visitors and classes due to COVID-19. Please direct inquiries about teaching remotely from the collection to Lisa Hodermarsky (lisa.hodermarsky@yale.edu) and Elissa Watters (elissa.watters@yale.edu).

Further Reading

Alcauskas, Katherine. The Pull of Experiment: Postwar American Printmaking, exh. broch. New Haven: Yale University Art Gallery, 2009.

Boorsch, Suzanne, and John Marciari. Master Drawings from the Yale University Art Gallery. New Haven: Yale University Art Gallery, 2006.

Clark, Alvin L., Jr. From Mannerism to Classicism: Printmaking in France, 1600–1660, exh. cat. Edited by Lesley K. Baier and Elise K. Kenney. New Haven: Yale University Art Gallery, 1987.

Cornell, Daniell, and Cheryl Finley. Imaging African Art: Documentation and Transformation, exh. cat. New Haven: Yale University Art Gallery, 2000.

Cross, Susan, and Denise Markonish, eds. Sol LeWitt: 100 Views, exh. cat. New Haven: Yale University Press, 2009.

DeRose, Elizabeth C. Jasper Johns: From Plate to Print, exh. cat. New Haven: Yale University Art Gallery, 2006.

DeRose, Elizabeth C. Making a Mark: Four Contemporary Artists in Print, exh. broch. New Haven: Yale University Art Gallery, 2006.

Emison, Patricia A. The Art of Teaching: Sixteenth-Century Allegorical Prints and Drawings, exh. cat. New Haven: Yale University Art Gallery, 1986.

Farrell, Jennifer, et al. Get There First, Decide Promptly: The Richard Brown Baker Collection of Postwar Art. New Haven: Yale University Art Gallery, 2012.

Field, Richard S., et al. American Prints 1900–1950: An Exhibition in Honor of the Donation of John P. Axelrod, B.A. 1968, exh. cat. New Haven: Yale University Art Gallery, 1983.

Field, Richard S., et al. French Drawings: Acquisitions 1970–1984, exh. cat. New Haven: Yale University Art Gallery, 1984.

Franks, Pamela. The Tiger’s Eye: The Art of a Magazine, exh. cat. New Haven: Yale University Art Gallery, 2002.

Gross, Jennifer R., ed. Edgar Degas: Defining the Modernist Edge, exh. cat. New Haven: Yale University Art Gallery, 2003.

Gross, Sally Lorensen. Toward an Urban View: The Nineteenth-Century American City in Prints, exh. cat. New Haven: Yale University Art Gallery, 1989.

Haverkamp-Begemann, Egbert, and Anne-Marie Logan. European Drawings and Watercolors in the Yale University Art Gallery 1500–1900. 2 vols. New Haven: Yale University Press, 1970.

Herbert, Robert L., Eleanor S. Apter, and Elise K. Kenney, eds. The Société Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonné. New Haven: Yale University Press, 1984.

Hodermarsky, Elisabeth S. Give a Thing and it is Yours Forever: George Hopper Fitch Collects for Yale, exh. cat. New Haven: Yale University Art Gallery, 1997.

Hodermarsky, Elisabeth S. The Synthetic Century: Collage from Cubism to Postmodernism, Selections from the Collection, exh. cat. New Haven: Yale University Art Gallery, 2002.

Hodermarsky, Elisabeth S., et al. John La Farge’s Second Paradise: Voyages in the South Seas, 1890–1891, exh. cat. New Haven: Yale University Art Gallery, 2010.

Hogan, John, and Benjamin Weil. Sol LeWitt: 17 Wall Drawings, 1970–2015. Santandar, Spain: Fundación Botín, 2015.

Kusserow, Karl. Watercolor in America, exh. cat. New Haven: Yale University Art Gallery, 1990.

Law, Mary E. Confronting the Uncomfortable: Questioning Truth and Power, exh. cat. New Haven: Yale University Art Gallery, 1989.

Mills, Laura K. American Allegorical Prints: Constructing an Identity, exh. cat. New Haven: Yale University Art Gallery, 1996.

Pillsbury, Edmund, and John Caldwell. Sixteenth Century Italian Drawings: Form and Function, exh. cat. New Haven: Yale University Art Gallery, 1974.

Shestack, Alan, and Lesley K. Baier. The Katharine Ordway Collection. New Haven: Yale University Art Gallery, 1983.

Williams, Lyle W. Pattern and Invention: Ornament Prints, 1500–1800, exh. cat. New Haven: Yale University Art Gallery, 1992.

Wolf, Alice. The Edward B. Greene Collection of Engraved Portraits and Portrait Drawings at Yale University. With a preface by Theodore Sizer. New Haven: Yale University Press, 1942.

Zevi, Adachiara. Sol LeWitt Critical Texts. Rome: Libri de AEIUO, 1995.