Harvard Art Museums > M24093: Metaphor Prints Collections Search Exit Deep Zoom Mode Zoom Out Zoom In Reset Zoom Full Screen Add to Collection Order Image Copy Link Copy Citation Citation"Metaphor (Robert Blackburn) , M24093,” Harvard Art Museums collections online, Nov 23, 2024, https://hvrd.art/o/194334. Reuse via IIIF Toggle Deep Zoom Mode Download This object does not yet have a description. Identification and Creation Object Number M24093 People Robert Blackburn, American (Summit, NJ 1920 - 2003) Title Metaphor Classification Prints Work Type print Date 1963 Culture American Persistent Link https://hvrd.art/o/194334 Physical Descriptions Medium Lithograph and screen print in colors printed on white wove paper Technique Lithograph and screen print Dimensions design: 60.3 x 47.2 cm (23 3/4 x 18 9/16 in.) sheet: 75.9 x 56.3 cm (29 7/8 x 22 3/16 in.) Inscriptions and Marks Signed: signed and dated inscription: lower margin below design, graphite, handwritten, in artist's hand: "Metaphor" Ed. 4 inscription: l.r: Blackburn '63 Provenance Recorded Ownership History [G. W. Einstein Company, Inc., New York, New York], sold; to Harvard University Art Museums, February 9, 1999. Acquisition and Rights Credit Line Harvard Art Museums/Fogg Museum, Margaret Fisher Fund Copyright © The Estate of Robert Blackburn. Used with Permission. Accession Year 1999 Object Number M24093 Division Modern and Contemporary Art Contact am_moderncontemporary@harvard.edu Permissions The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request. Descriptions Commentary Blackburn owned and ran the longest-running print workshop in this country, founding it as a direct successor to Atleier 17 after the departure of Hayter, yet focusing on lithographic rather than intaglio printing. He was the first printing for Tanaya Grossman and ULAE when that revolutionary show was founded in 1957. Study in Paris confirmed his personal style in the School of Paris abstract idiom, and exposure to the various stylistic developments of the New York School generations. This is a typical example of his work, in its calm, scale, and strength and it will be a marker for his career as a printer as well as a handsome image in its own right. He was trained in Harlem in the last years of the Harlem Renaissance. Verification Level This record was created from historic documentation and may not have been reviewed by a curator; it may be inaccurate or incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Modern and Contemporary Art at am_moderncontemporary@harvard.edu
