Search results for ""Author David F Martin""

Richard Bennett (1899–1971) was a nationally known printmaker, painter, and illustrator, born in Ireland but raised in Washington State. He later divided his time between New York City and Seattle. A leading children’s book author and illustrator, he received national recognition for his woodblock prints and engravings. He was part of the inner circle of leading Northwest artists including Mark Tobey, Morris Graves, Kenneth Callahan, and Guy Anderson. In New York he became close to a group of artists and scholars that included the Abstract Expressionist Theodoros Stamos, etcher Thomas Handforth, and the scholar Edmond Tolk. Among the many children’s books he illustrated are the Paul Bunyon stories, Treasure Island, and Betty MacDonald’s The Egg and I and Mrs. Piggle Wiggle. David Martin places Bennett's work in the context of major American printmakers and illustrators and the changes in book production inspired by the Arts and Crafts Movement.

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This is the first study of the work of Chao-Chen Yang (1909–1969), an important Seattle photographer who gained national prominence in the mid-twentieth century. Born in Hangzhou, China, Yang received his art training at the University of Hsin-Hwa in Shanghai. After graduating, he became art director for the Government Institute of Nanking. In 1933 he moved to Chicago as chancellor of the Chinese Consulate and attended the Art Institute of Chicago. Initially trained as a painter, he later used photography as his main medium for artistic expression. In 1938 Yang was transferred to Seattle as chancellor of the Chinese Consulate and became actively involved with the Seattle Photographic Society. He was also an influential art and photography instructor and worked tirelessly to advance Chinese culture in the United States. Yang won numerous awards in important photography salons and became a Fellow of the Photographic Society of America, the Professional Photographers Association of America, and the Royal Photographic Society of Great Britain. He was a pioneer in color photography in the Northwest in both advertising and the fine arts. Exhibition dates: Cascadia Art Museum, November 9, 2023–February 11, 2024

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Territorial Hues: The Color Print and Washington State, 1920-1960 will consist of prints that display the cultural and stylistic influences used by Washington State artists to produce highly exceptional works that reflect the color, light, and atmosphere that is unique to this region. The book focuses on several mediums including color woodcut, intaglio, serigraphy, and lithography. The influences of Japanese prints and regional appropriations of international movements will be examined as well as the local production of white-line prints.

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If we do not, at some point in our life, face death—thinking hard and straight about it— we turn away from our authenticity. If that facing rejects irrational faith, dogmas, mystification, and personal immortality, is there yet a path free of despair? David Martin argues that participatory pantheism—the experience of the secular and the sacred both as a unity and as a mystery—provides such a path. As we age, the future shortens and the past lengthens. But if we face death, more and more memories—especially the involuntary—are stirred up and cohere into stronger, as well as new, unities. What paradise there is for th elderly is not so much in what is happening but in remembering what happened in a meaningful way. For Dr. Martin, transformation of memory into the memorable is the transcendent meaning each of us can wrest from our coming to death. Since nature is our home, Dr. Martin reasons, the more we think participatively (thinking from ) rather than only objectively (thinking at), the more we are aware of the mystery and the majesty of that home. The more we know about our world and ourselves, the more we can understand how much we don't know. This kind of thinking is a thanking. It brings us within the sacred. We are anchored, and the churning of change no longer sweeps us away.

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One of the state's oldest arts organizations, Women Painters of Washington was founded in 1930 with the aim of overcoming limitations faced by women artists. Over its 75-year history, the group has counted among its members talented artists of national prominence whose stories have not been widely shared, until now. From founding members' early efforts to support fellow women artists, to contemporary members' cultural exchanges and international exhibitions, David F. Martin tells the story of Women Painters of Washington. He examines members' artistic achievements and the recognition they received in the national and international art worlds. In addition, a selection of works by current WPW members demonstrates the organization's continued vitality. Abundant color plates clearly illustrate the talent and innovation of these artists.

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One of the leading Northwest artists of his generation, George Tsutakawa (1910–97) is internationally known for his sculpture and fountain designs. However, a lesser-known aspect of his career was the production of blockprints, watercolors, and works on paper that began in the 1920s and continued throughout his career. Born in Seattle and educated in Japan, Tsutakawa had early success while still in high school. He attended the University of Washington, where he received an MFA in sculpture in 1950, and became an influential instructor at the university’s School of Art from 1947 to 1976. Drawn from the Tsutakawa estate, most of the works shown here have never been seen previously by the public. These early works display concepts and inspirations that would inform Tsutakawa’s aesthetic throughout a long and distinguished career. Contextual works by Tsutakawa’s instructors and contemporaries provides a broader understanding of his oeuvre. Exhibition dates: Cascadia Art Museum, December 1, 2022–March 26, 2023

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Internationally acclaimed fine-art photographer Ella McBride (1862–1965) played an important role in the Northwest’s photography community and was a key figure in the national and international pictorialist photography movements. Despite her many accomplishments, which included managing the photography studio of Edward S. Curtis for many years and being an early member of the Seattle Camera Club, McBride is little known today. Captive Light: The Life and Photography of Ella E. McBride reconsiders her career and the larger pictorialist movement in the Northwest.The book accompanies an exhibition that is co-curated by David F. Martin, a Seattle gallerist and leading art historian on Northwest artists of the early twentieth century, and Margaret E. Bullock, curator of collections and special exhibitions at Tacoma Art Museum. Captive Light is part of the Tacoma Art Museum’s Northwest Perspective Series on significant Northwest artists.

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One of the most innovative Northwest artists of her time, Virna Haffer was an internationally recognized and respected Tacoma photographer who has slipped from both regional and national art history books. In a career spanning more than six decades, Haffer found success as a photographer, printmaker, painter, musician, sculptor, and published writer, though she is primarily known as a photographer. Self-taught, she began her ambitious career in the early 1920s, both running a successful portrait studio and also exhibiting her unique artistic images around the world. Margaret E. Bullock, curator of collections and special exhibitions at Tacoma Art Museum, art historian Christina S. Henderson, and independent curator and gallery owner David F. Martin examined more than 30,000 of Virna Haffer's photographic negatives, prints, and woodblocks at the Washington State Historical Society and Tacoma Public Library's Special Collections were examined to create this book.

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