The First Art Newspaper on the Net    Established in 1996 Thursday, October 6, 2022


Museum of Fine Arts, Boston adds 35 Martin Barooshian works to its collection
Martin Barooshian (American, 1929–2022), Tyger‑Tyger, 1954. Woodcut. Gift of Martin and Mary Barooshian in honor of Michael J. Russo. Photograph © Museum of Fine Arts, Boston.



BOSTON, MASS.- The Museum of Fine Arts, Boston, and the Martin Barooshian Art Trust are pleased to announce that the MFA has added 35 additional pieces by Martin Barooshian (1929-2022), to its collection. The acquisition includes important woodcuts and etchings as well as one monotype and three preparatory drawings. The MFA acquired its first work by Barooshian in 1950.

Barooshian, a Boston native, was an American surrealist painter and an exceptionally accomplished printmaker. Barooshian rose to prominence during the 1950s and 60s, but his fame waned over time. There has been resurgent interest in his artistic contributions, including the publication of a biography and catalogue in 2020, and the MFA’s acquisition represents a substantial step in his rediscovery.

In a New York City art world insistent on non-figurative conformity, Barooshian struck out on his own path. The resulting abstract surrealist prints and paintings, which fuse art historical, modern, and contemporary influences, are unique, singular, and increasingly considered by many to be ahead of their time. With a printmaking output spanning 60 years, Barooshian’s oeuvre incorporates a broad variety of media: woodcuts, lithographs, etchings, and monotypes. His colleague and friend Willem de Kooning called Barooshian “a printing magician.”

Barooshian garnered his earliest national recognition when “discovered” by John Taylor Arms for his woodcuts, which fused traditional techniques and content with modern form and color to convey the paranoia and loss of innocence of the Atomic Age—perhaps tinged with hopefulness. Soon thereafter in 1952, the Library of Congress acquired his first major woodcut portfolio. Perhaps Barooshian’s greatest contribution to printmaking was with a method known as color viscosity printing, which dominated his output starting about 1956. During his stay at Atelier 17 in Paris, Barooshian evolved the technique, pushing its limits in order to reach his artistic vision of imagined realities and dreamscapes. By incorporating various methods including hard ground, soft ground, mezzotint, and aquatint on a single zinc plate, Barooshian created complex, polychromatic images solidifying his reputation as one of viscosity printmaking’s most important masters.

Patrick Murphy, Lia and William Poorvu Associate Curator of Prints and Drawings at the MFA, called Barooshian “a consummate printmaker, whose intriguing and oddly overlooked body of work deserves to be celebrated alongside that of mid-century contemporaries like Hayter, Helen Phillips, Fred Becker, and Gabor Peterdi.”

“This extraordinary gift includes a number of compositions in multiple impressions—state proofs showing the evolution of work on the plate, or variant inkings demonstrating the artist’s characteristic experimentation with color, as well as preparatory drawings, and will make the MFA a destination for the study of Barooshian’s prints,” said Murphy.

“The recent rediscovery of Martin’s work has been very exciting, and this honor solidifies his legacy,” said Michael Russo, curator of the Martin Barooshian Art Trust. “Martin saw this acquisition as a full-circle homecoming. When he was a boy and student, the MFA represented all of his dreams, and he fantasized that someday the MFA would have a large collection of his art. He lived to see it happen.”
About Martin Barooshian

Martin Barooshian was trained at the School of the Museum of Fine Arts, Boston, Boston University, Tufts University, and Atelier 17 in Paris. He has been called “Pablo Picasso meets Stan Lee…who has always defined his own style” by Boston Globe critic Cate McQuaid. Addison Gallery curator Susan Faxon described Barooshian as “an artist whose sweep was wide…and whose exuberance, inventiveness, imagination, and artistic commitment were boundless.” Barooshian was at the center of several critical art movements: innovating color viscosity printmaking at Atelier 17, overseeing the seminal Pratt printing workshop in NYC for over a decade, and serving as the president of the Society of American Graphic Artists. He was taught painting by Karl Zerbe, lithography by Gaston Dorfinant, and intaglio etching by Stanley Hayter; he was friends with Armin Landeck and Gerald Geerlings, de Kooning and Paul Jenkins; he taught Barnett Newman to make lithographs. His story is the story of mid-20th-century American art.










Today's News

March 1, 2022

Treasured paintings burned in Russian invasion, Ukrainian officials say

Phillips to offer $70M Basquiat from the collection of Yusaku Maezawa

Banksy and 21st century editions live for bidding

Legendary fashion collectors Susan Gutfreund & Jacqueline Leeds to lead March couture auction

Russian artists speak out against war, but fear reprisals

National Gallery of Art acquires works by Betye Saar and Melvin Edwards

Metropolitan Opera says it will cut ties with pro-Putin artists

Exhibition features more than twenty installations by Anicka Yi

The Ateneum Art Museum halts the loan of Akseli Gallen-Kallela's works to Russia

Christie's New York celebrates Asian Art Week

James Cohan opens an exhibition of new sculptural work by Kathy Butterly

Heritage Auctions joins Asia Week's return to New York

Museum of Fine Arts, Boston adds 35 Martin Barooshian works to its collection

Solo exhibition of paintings and mixed media works by Hayv Kahraman opens at The Mosaic Rooms

Almine Rech opens its first solo exhibition of works by British-French artist Alice Anderson

Foster Wilson Size completes contemporary cultural hub and theatre in the heart of Brixton

Yan Pei-Ming premieres a new body of work at MASSIMODECARLO

New artwork inspired by fridge magnets and a Renaissance masterpiece will welcome visitors to new city

National Pavilion UAE announces publication of the first comprehensive monograph for Mohamed Ahmed Ibrahim

The Jewish Museum launches new digital guide to enrich both onsite and offsite visits

All hands on deck: Garment District exhibition spotlights artisans working on their craft

House of Illustration secures resolution to grant planning permission for redevelopment of historic New River Head site

Fundacion MAPFRE opens Jorge Ribalta's first retrospective

Magasin III Museum for Contemporary Art presents an exhibition of works by Mona Hatoum

The connection between Art and Gambling

Slot Machines Fruit Symbols Digital Art

Id de referencia binance: VIFWIJVZ

Taking a Hybrid Security Approach: Why Physical Security Companies Are Embracing Human-Tech Partnerships




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful