THE PRINTS OF ROCKWELL KENT: A CATALOGUE RAISONNÉ
Dan Burne Jones, Carl Zigrosser [foreword]
Dan Burne Jones, Carl Zigrosser [foreword]: THE PRINTS OF ROCKWELL KENT: A CATALOGUE RAISONNÉ. Chicago and London: University of Chicago Press, 1975. First edition. Folio. Tan cloth stamped in gilt with paper label to front panel. Printed dust jacket. Decorated endpapers. 219 [xx] pp. 176 black and white plates and many text illustrations Appendixes, bibliography and index. Four-page Publishers Prospectus laid in. Twelve-page Rockwell Kent Print Catalog from Associated American Artists in New York [1975] laid in with price list of 135 works. Two-page review from American Artist [December 1975] laid in. Unclipped jacket with original $27.50 price and $32.50 publisher's price intact. Vintage sticker shadow to rear jacket panel and jacket faintly spotted to rear panel otherwise a nearly fine copy in a nearly fine dust jacket. Uncommon thus.
9.5 x 12.5 hardcover book with 240 pages and 176 black and white plates: 156 reproductions of Kent's work with extensive commentary on the page alongside of the reproductions and with media and measurements at top. This lavishly produced, definitive catalogue raisonne includes over 300 reproductions and supplies complete information on medium, technique, subject matter, location and size of edition. Ancillary sketches and drawings and a series of lesser-known woodcuts are also included.
A forward by Carl Zigrosser divides Kent's work into three phases: A mystical period born of lonley spells in Newfoundland and Alaska, a documentary phase illustrating life in the Adirondacks and Greenland, and a third phase of highly developed social consciousness in which Kent achieved his greatest reknown. Dan Burne Jones was appointed as his Bibliographer by Rockwell Kent before his death.
Appendix I is "Twenty-Two Small Wood Engravings and Woodcuts", Appendix II is "Print Patterns and Designs for Cloth", Appendix III is "Twenty-Eight Drawings by Kent Cut in Wood by J.J. Lankes", Appendix IV is List of Prints Done in Color", Appendix V is "List of Variant Print Titles" and Appendix VI is "Chronology of Prints.”
The artist, author, and political activist Rockwell Kent [1882 – 1971] worked as an architectural draftsman, illustrator, printmaker, painter, lobsterman, ship's carpenter, and dairy farmer. Born in Tarrytown Heights, New York, he lived in Maine, Newfoundland, Alaska, Greenland, and the Adirondacks and his paintings, lithographs, and woodcuts often portrayed the bleak and rugged aspects of nature; a reflection of his life in harsh climates.
Kent had an unusually long and thorough training as an artist. He was a student at the Horace Mann School in New York City and subsequently studied architecture at Columbia University, toward the end of which he felt a strong inclination toward painting and took up the study of art under William Merritt Chase at the Shinnecock Hills School. He studied later at the New York School, under Robert Henri and Kenneth Hayes Miller, and finally as an apprentice to Abbott Thayer at Dublin, New Hampshire. Henri encouraged him to go to Monhegan Island where Kent painted on his own. He was absorbed in the awesome power of the environment; nature's timeless energy and contrasting forces influenced his work throughout his lifetime. His early and lasting relationship with the sea was portrayed again and again in his work.
Kent both wrote and illustrated several books; Wilderness: A Journal of Quiet Adventure in Alaska was published in 1920. Among his other works were Voyaging Southward from the Strait of Magellan (1924); Salamina (1934) about Greenland; and two autobiographies, This is My Own (1940) and It's me O Lord (1955).
A political activist, Rockwell Kent championed social causes from the 1930's until his death. Although Kent insisted that he never belonged to the Communist party, his consistent support of radical causes contributed to a decline in his artistic popularity during the 1940s and 1950s. In the latter decade, the State Department revoked his passport. Kent sued for its reinstatement and emerged victorious in landmark Supreme Court case. He became very popular in the Soviet Union, and in 1957, half a million Russians attended an exhibition of his work. Subsequently, he donated eighty paintings and eight hundred prints and drawings to the Russian people. In 1967, he was awarded the Lenin Peace Prize.
The graphic art tradition in which Rockwell Kent worked was not that of the Post-Impressionist or abstract International style, but rather an older and somewhat English style. Hogarth, Blake, Constable, the Pre-Raphaelites, and the British illustrators were his artistic antecedents. His work is most frequently identified with that of the American Social Realists and the great muralists of the 1920s and 1930s. Kent's figure-studies show with what perseverance he worked to perfect his draftsmanship and his ability to portray the human form in any pose or manner; his architectural training enabled him to draw objects accurately and convincingly.
His experience as a carpenter and builder and his familiarity with tools served him well when he took up the graphic process. His blocks were marvels of beautiful cutting, every line deliberate and under perfect control. The tones and lines in his lithography were solidly built up, subtle, and full of color. He usually made preliminary studies- old-mater style- for composition or detail before starting on a print. Nothing was vague or accidental about his work; his expression was clear and deliberate. Neither misty tonalities nor suggestiveness were to his taste. He was a highly objectified artist— clean, athletic, sometimes almost austere and cold. He either recorded adventures concretely, or dealt in ideas. His studio was a model of the efficient workshop: neat, orderly, with everything in its place. His handwriting, the fruit of his architectural training, was beautiful and precise.
The fact that Rockwell Kent never worked in the tradition of the Post-Impressionists had considerable effect on critical and public response to his work. In the 1920s, he was a rising young printmaker; and in the 1930s, he reached his greatest popularity. In 1936, the magazine Prints conducted an extensive and elaborate survey on the practitioners of graphic art in the United States. Kent came out far ahead of all others as the most widely known and successful printmaker in the country. Few artists have experienced such fluctuations in the public esteem of their work as has Kent, from extravagant praise to fanatic denunciation, usually based on nonaesthetic considerations or on a misunderstanding of the real import of his prints and paintings. When abstract modern art became better known and accepted in the 1940s, Kent's popularity suffered a commensurate decline. This fall from grace was compounded when he began to espouse unpopular leftist causes; his work was denounced for political reasons. Only now do we have the perspective to look at his work with a receptive and unprejudiced eye. [SUNY Plattsburgh]