women of atelier 17:
A surge of interest has arisen in a specific segment of printmaking since the publication of Dr. Christina Weyl’s seminal book The Women of Atelier 17: Modernist Printmaking in Midcentury New York. The significance of women in midcentury art making is clearly evident, but is still not fully explored. This exhibition examines the work of several female printmakers who worked at Stanley William Hayter’s famed Atelier 17 printmaking workshop in both Paris and New York. It can be booked for venues in (or near) Florida for 2027 and 2028, in celebration of the 100th anniversary of the founding of Atelier 17.
This exhibition is drawn from works in the collection of Professor Tyrus Clutter, a collection that has developed over twenty-five years, with a specific focus on artists from Atelier 17. Clutter first decided to mount an exhibition from the collection around 2018 and this culminated in Greater than 17, which was an exhibit hosted at the Webber Gallery at the College of Central Florida (2021) and the Leepa-Rattner Museum of Art (2022). While working on the essays for the catalogue for Greater than 17, Clutter was encouraged to take a deeper dive into the romantic relationships that were born out of Atelier 17. This led to the current L’Atelier de L’Amour project, which is also planned for 2027 and 2028.
The centenary of Atelier 17 will likely spawn several exhibitions and tributes to the groundbreaking workshop. Luck be a Lady: Women of Atelier 17 will showcase nearly fifty works by about twenty artists. PDFs for didactic panels and a brief catalogue will be available for venues to print. A collection of QR codes that can be added onto wall labels will make the exhibition interactive. These codes will link directly to Dr. Weyl’s online biographies of women who worked at Atelier 17, providing an amazing resource for those wishing to dig deeper into the history of these artists.
This exhibition is being limited to venues close to central Florida so that Professor Clutter can easily and more affordably transport the works, but also so that he can provide any lectures, gallery talks, or printmaking workshops that might add additional content to the exhibition (he can also provide ideas and contacts for further programming, such as Zoom-based panels of experts). Requirements for the exhibition include transportation and insurance costs. For further details contact him at tyrus@tyrusclutter.com .
Link to L'Atelier de L'Amour exhibition.
Link to All the Best (New Year and Christmas Cards from Atelier 17).
Patricia de Gogorza, Bird Mountain 1961, Color Intaglio, 9 3/4" x 13 1/4"
Gail Singer, Sentinels II, 1968, Color Viscosity Intaglio, 13 1/8" x 14 3/8" (provenance, collection of David F. Driesbach)
Ynez Johnston, Dynastic Scene, 1965, Color Etching with Aquatint and Carborundum, 12" x 8 7/8"
Ynez Johnston, Untitled (Recent Paintings Exhibition Print), 1976, Color Etching and Aquatint, 7 13/16" x 5 7/8"
Aki Roland, Guinea, 1965, Color Viscosity Intaglio, 16 1/4" x 10 1/2"
Ynez Johnston, Tribal Coast, 1964, Multiple Plate Color Intaglio, 11 3/8" x 17 3/4"
Ruth Cyril, La Montagne Enchante', 1960, Mixed Intaglio with Relief Roll, 17 1/2" x 30 7/8"
Terry Haass, Nexus V, 1968, Color Intaglio, 10 1/2" diameter
Aki Roland, Jardin du Printemps, 1967, Color Viscosity Intaglio, 13 1/2" x 9"
Agathe Sorel, Melting Point,1964, Color Intaglio with Relif Roll and Embossing, 16" x 20 3/8"
Francoise Bricaut Tortillard, Color Viscosity Intaglio, 8" x 10 7/8"
Angelica Caporaso, L'echa Jaudape, Intaglio with Color Relief Roll, 16 3/4" x 21 1/2"
Sheigla Hartman, Crown of Thorns, 1969, Color Viscosity Intaglio, 22 1/2" x 14 1/2"
Terry Haass, Hapy Pentagone 4, 1973, Color intaglio, 10 1/4" x 9 1/4"
Terry Haass, Kaleiddoscope 4 , 1972, Color Intaglio, 5 3/4" x 5 1/4"
Ruth Leaf, The Blues, 19??, Color Viscosity Intaglio, 7 1/2" x 5 1/2"
Ynez Johnston, Untitled (Mother and Child), ca.1949, Etching Printed in Relief 7 13/16" x 5 7/8"
Aki Roland, Nagare (Flow), 1965, Color Viscosity Intaglio, 15 1/2" x 11 1/4"
Doris Seidler, Blitzed Gothic,1957, Lucite Engraving, 21" x 12 1/4"
Shirley Witebsky, Fruit Tree, Color Viscosity Intaglio, 14" x 18" (first wife of Krishna Reddy)
Minna Citron, L'Araignes (The Spider), 1962, Etching, Aquatint, and Gauffrauge with Color Relief Roll, 26" x 15"
Nono Reinhold, Untitled, 1963, Color Viscosity Intaglio, 3 3/4" x 5 1/4"
Jean Lodge, Land and Sea, 1974, Color Engraving and Aquatint, 16 1/4" x 16 1/4"
Jean Lodge, Yellow Web, 1968, Color Etching, 15 1/2" x 17 3/4"
Aki Roland, (Tanina) La Vollee (Valley), 1974, Color Viscosity Intaglio, 21 3/8" x 17 3/8"
Doris Seidler, The Garden, 1966, Color Viscosity Intaglio, 9 7/8" x 7 7/8"
Terry Haass, Nexus II, 1968, Color Intaglio, 10 1/2" diameter
Ana Rosa Marcos de Ycaza, Untitled (on school paper), 1950, Etching, 3" x 2 7/8"
Minna Citron, Dancer, 1945 (from the 1985 edition of 100), Hard and Soft Ground Etching, 5 5/8" x 4 7/8""
Terry Haass, Nexus III, 1968, Color Intaglio, 10 1/2" diameter
Terry Haass, Untitled Greeting Card, c. 1970, Color Intaglio, 3 1/4" x 2 1/8"
Terry Haass, Untitled Greeting Card, (holiday card for Lacouriere Paris) 1973, Color Intaglio, 4 1/2" x 3 3/8"
Terry Haass, Untitled Greeting Card, c. 1970, Color Intaglio on tan paper, 3 1/4" x 1 7/8"
Aki Roland, Composition A, 1971, Color Viscosity Intaglio, 11 3/8" x 15 5/8"
Minna Citron, Marine, 1948, Etching and Aquatint with Color Stencils, 6 1/4" x 8 7/8"
Minna Citron, Sherman, 1941, Etching and Aquatint , 6 15/16" x 8 3/16" (on gray-green paper, printed outside of the edition, between 1941 and 1947)
Anne Ryan, Triangulum (from the Constellation series), Hard and Soft Ground Etching, 2 7/8" Diameter
Agathe Sorel, Midi,1959, Color Viscosity Intaglio, 13 1/8" x 17 1/2"
Chen Shu-Lin, Cardinal, 1997, Color Viscosity Intaglio, 15 3/8" x 15 1/8"
Shirley Witebsky, Autumn, 1969, Color Viscosity Intaglio, 14" x 17 1/2" (first wife of Krishna Reddy)
Terry Haass, Kaleiddoscope 3 , 1972, Color Intaglio, 6 3/8" x 6 3/8"
Terry Haass, Kaleiddoscope 5, 1972, Color Intaglio, 8" x 5 1/4"
Terry Haass, Nexus VI, 1968, Color Intaglio, 10 1/2" diameter
Terry Haass, Milstroom, 1969, Color etching and aquatint (2 plates), 15 1/2" x 22 7/8"
Terry Haass, And the Earth Brought Forth Grass and Herb (from the Creation as After Genesis portfolio), 1957-59, Etching and aquatint, 17 1/2" x 19 1/2"
Terry Haass, Let it Divide the Waters (from the Creation as After Genesis portfolio), 1957-59, Etching and aquatint, 17 1/2" x 19 1/2"
Terry Haass, Let the Waters Bring Forth Abundantly the Moving Creature that hath Life (from the Creation as After Genesis portfolio), 1957-59, Etching and aquatint, 17 1/2" x 19 1/2"
Aki Roland, Saint Pierre, 1971, Color Viscosity Intaglio, 12 3/8" x 16"
Angelica Caporaso, Untitled Christmas Greeting, 1984, Lithograph, 5 3/4" x 5 3/4"
Ana Rosa Marcos de Ycaza, from Sketches of Deer at the Bronx Zoo (proof after too much scraping), 1950, Engraving, 14" x 10 7/8"
Agathe Sorel, Greeting,1962, Embossing, 9" x 5 3/4"
Angelica Caporaso, Untitled New Year Greeting, 1994, Gouache, 4 1/4" x 7 1/2"
Doris Seidler, Cathedral VII, 1970, Color Viscosity Intaglio, 19 3/4" x 16"
Doris Seidler, Xmas Bell, 1980, Embossing, 1 7/8" x 2"
Shirley Wales, Untitled, c. 1965, Color Etching with Monoprint, 9 7/8" x 4"
Doris Seidler, Business Hour, Tokyo, c. 1980, Collage with Intaglio and Embossing, 5 3/4" x 6 3/4"
Shirley Wales, Untitled, c. 1965, Color Viscosity Etching, 8 1/8" x 5 7/8"
Rose Adler, Loreley, 1937, Engraving and Soft Ground Etching, 6 1/4" x 7 7/16"
Francoise Bricaut, Untitled New Year Print, Etching, 1985, 3 9/16" x 2 3/4"
