Description
George Biddle was the mastermind behind the Public Works Art Project; it was his petition to FDR for the creation of a national arts program that sparked nationwide interest in government funding of the arts. This work, depicting donkeys in various states of repose and decay in a loosely American southwestern setting, expresses some of the concerns of the New Deal artists: decay, struggle, rebirth, and the American landscape. The symbolism of the donkey in the print relates to Biddle’s fascination with the Mexican Muralist movement, to which he was exposed when he toured Mexico with Diego Rivera.
At least six examples out of the 100 impressions of this work in the edition are owned by museums, including the Brooklyn Museum of Art, the Carnegie Institute Museum of Art, the Metropolitan Museum of Art, the New York Public Library, the Philadelphia Museum of Art, and the Achenbach Foundation collection at the Fine Arts Museums of San Francisco.
Details
Medium:
Lithograph in black ink on white BFK Rives wove paper
Date:
1928
Signature:
Signed en recto lower right, with date. Titled and editioned en recto lower left.
Framing:
Professionally framed in a vintage white oak frame behind 99% UV-filtering art glass using strictly conservation-grade materials.
Condition:
Excellent condition, very nicely inked.
Framed Size:
18 in. (h) x 23 in. (w) x 1 in. (d)
Literature:
Illustrated in Martha Pennigar, The Graphic Work of George Biddle (Corcoran Gallery: 1950), at p. 6.
Catalogues Raisonné:
Massey Trotter (New York Public Library: 1950), No. 46; Martha Pennigar, The Graphic Work of George Biddle (Corcoran Gallery: 1950), No. 80.
Exhibitions:
Exhibited at the Corcoran Gallery’s major Biddle retrospective of 1979 from which the Pennigar catalogue raisonné emerged.
Expectant Thistles
$360.00
George Biddle (American)
Description
George Biddle was the mastermind behind the Public Works Art Project; it was his petition to FDR for the creation of a national arts program that sparked nationwide interest in government funding of the arts. This work, depicting donkeys in various states of repose and decay in a loosely American southwestern setting, expresses some of the concerns of the New Deal artists: decay, struggle, rebirth, and the American landscape. The symbolism of the donkey in the print relates to Biddle’s fascination with the Mexican Muralist movement, to which he was exposed when he toured Mexico with Diego Rivera.
At least six examples out of the 100 impressions of this work in the edition are owned by museums, including the Brooklyn Museum of Art, the Carnegie Institute Museum of Art, the Metropolitan Museum of Art, the New York Public Library, the Philadelphia Museum of Art, and the Achenbach Foundation collection at the Fine Arts Museums of San Francisco.
Additional information
Lithograph
1920-1940
Custom framed and matted using conservation materials
Excellent Condition
Old Etchings
Details
Medium:
Lithograph in black ink on white BFK Rives wove paper
Date:
1928
Signature:
Signed en recto lower right, with date. Titled and editioned en recto lower left.
Framing:
Professionally framed in a vintage white oak frame behind 99% UV-filtering art glass using strictly conservation-grade materials.
Condition:
Excellent condition, very nicely inked.
Framed Size:
18 in. (h) x 23 in. (w) x 1 in. (d)
Literature:
Illustrated in Martha Pennigar, The Graphic Work of George Biddle (Corcoran Gallery: 1950), at p. 6.
Catalogues Raisonné:
Massey Trotter (New York Public Library: 1950), No. 46; Martha Pennigar, The Graphic Work of George Biddle (Corcoran Gallery: 1950), No. 80.
Exhibitions:
Exhibited at the Corcoran Gallery’s major Biddle retrospective of 1979 from which the Pennigar catalogue raisonné emerged.
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