History of Printmaking: Dürer at 23, in Venice, in Love, His Bags are Stolen

My prints and paintings are narratives, both direct and metaphorical. The intent is moral, if your morality is in my ballpark. The method is satire; comedy is OK, but pretty much anything goes it if fits my drawing concept on paper or copper plate.—Warrington Colescott

While studying at the Slade School of Art in London on a Fulbright Scholarship, Colescott developed his use of the human figure within his narratives. He was an important figure, as teacher and artist, in the post-World War II flowering of printmaking at the University of Wisconsin–Madison. Colescott was one of the innovators in advancing technique and imagery in print culture that made Madison one of this country’s creative hotspots. He taught printmaking at UW from 1949 to 1986; he is the Leo Steppat Chair Professor of Art Emeritus, a Fellow of the Wisconsin Academy and an Academician of the National Academy of Design. His prints are held in most major public collections including the Museum of Modern Art and the Metropolitan Museum in New York, and the Corcoran Gallery of Art in Washington, D.C.—Midwest Matrix, 2011




Constant Pressure