#atelier 17

John Buckland Wright (1897–1954)

Artist and model no. 1 1935

Stanley William Hayter

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The artist Boris Margo once confronted Louise Nevelson about the messiness of her printmaking. “You leave so much black on the plate; you can wipe it cleaner.” “I don’t want it clean,” she retorted. 

At the innovative print collective Atelier 17, women “got dirty” in ways that resisted gender norms. Home and hearth were the midcentury feminine ideal, so being an artist was challenge enough. Add to that assumptions about women as weak — surely they couldn’t operate a heavy printing press or use “manly” tools like the burin in copper plate engraving. 

But at Atelier 17, women displayed more than mastery. They helped revolutionize printmaking, and along the way redefined beliefs about gender identity and artistic achievement in the 1940s and ’50s.

『The moon project』Starry Night　Light-shielding Foldable Parasol (gold) - Atelier 17

Brand : Atelier 17

Category : Accessories

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Happy Birthday Salvador Dali!

Since 1924 the Print Club of Cleveland has issued an annual presentation print exclusively for its membership. Artists are invited to create a work in the printmaking technique of their choosing. In 1945 Salvador Dali was asked to create an etching for the club’s 1946 publication. Admiring his recent work, The Sleeping Nautilus, made for the Steuben Glass Company, the artist was asked to submit drawings based on mythological themes. Dali’s first drawing, Rapt d’Afrique, was rejected as being too sensational. Henry Sayles Francis, Curator of Prints and Drawings and Print Club secretary, sent a plaintive letter to Mrs. Dali requesting the artist consider a different subject. Dali replied with St. George and the Dragon which was enthusiastically accepted.

Approval of the drawing was the beginning of a lengthy saga that resulted in the delay of the publication until 1947. The contract with Dali included $500 for his work and provided him with the copper printing plate to create his etching. A plate was purchased but arrived at the museum scratched. Efforts to repair it ruined it instead and another plate had to be procured. In March 1946 the plate was shipped to the artist in California where it languished in a crate while the artist completed a contract with Walt Disney. In November Henry Sayles Francis received a letter from Mrs. Dali requesting the assistance of a specialist who could help in creating the etching. Mr. Francis scrambled to find a collaborator in New York, where Dali was now located, but to no avail. In a desperate attempt to complete the etching he even suggested shipping the plate and drawing back to the museum where a “competent etcher” on staff could complete the work.

As it turned out, Dali was asking only for the use of a studio in which to etch the plate. In January 1947 Print Club member Charles E. Roseman, Jr. made arrangements with Stanley William Hayter for the use of Atelier 17. By the end of March proofs were ready for approval by the Print Club. 260 impressions and three trial prints were sent to Dali for his signature in June along with payment for his services.

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