Following the innovative many years before World War I when Pablo Picasso and George Braque launched the Cubist pictorial language into graphic media, Cubist images became less experimental and much more fancy in design and execution. Often, these subsequent images emphasize sophisticated methods and subtleties of publishing.
Less studied versus pre-war graphic works, this second florescence associated with the Cubist printing begins around 1915 and goes on through 1930s. It includes numerous striking compositions realized in woodcut, a medium generally related to French Fauvism and German Expressionism.
This exhibition showcased two cycles of images inside Smart Museum collection.
The Sooner, from 1925, ended up being an original, elegant edition of five woodcuts combined with the initial pen-and-ink studies made by André Lhote. This show is devoted to marine motifs, including mythic mermaids, sailors in the office and remainder, in addition to racy world of pubs, prostitutes alongside port-of-call pleasures.
Others highlighted print cycle, appearing 5 years later, was a package of ten blended intaglio prints by the Polish-born Louis Marcoussis, whose masterful etchings made during this time period generate a mystical artistic poetry from a delicate fusion of Cubist and Surrealist themes.