August 29 - October 18, 2008

Opening Reception: Friday, August 29: 5-7 p.m

The Trout Gallery is proud to host a retrospective exhibition of the photographs of Gordon Parks (1912-2006), one of the nation’s most important chroniclers of the twentieth century. Photographer, poet, novelist, composer, musician, and filmmaker, Parks spent a lifetime shattering barriers in the pursuit of truth, beauty, social justice, and artistic expression.

Parks became the first black photographer to join the Farm Security Administration (FSA), shortly after which he made his signature image American Gothic. In 1949, he became the first black staff photographer at Life magazine, where he continued to work on assignment for the next quarter of the century. He documented the gang wars of Harlem and the nascent Black Muslim movement, worked in fashion and commercial as well as fine art photography. He helped found Essence magazine and directed the film Shaft. He received numerous awards including the Jackie Robinson Lifetime Achievement Award, the NAACP Hall of Fame Award, the National Medal of the Arts, as well as an honorary doctorate from Dickinson College. All photographs courtesy of the Gordon Parks Foundation and the Howard Greenberg Gallery. Organized by art2art Circulating Exhibitions.

IMAGE: American Gothic, Gelatin silver print, 1942

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Joyce Kozloff


October 31 - January 10, 2009

Opening Reception: Friday, October 31: 5-7 p.m

In this selection of works by Joyce Kozloff, she considers relationships of power and global politics through the imagery of maps and cartography. Her paintings, some of which cover spherical surfaces and globes, often resemble maps from antiquity as well as from the age of exploration dotted with contemporary references to examine issues of territorial conquest, identity, and the topography of power. Although her works trace physical boundaries and recognizable geographic borders, such territorial references act as metaphors for people, culture, body, and mind.

Kozloff has been active in the women artists’ movement since the 1970s, is a peace activist and is a member of the New York based collective Artists Against the War and a founding member of the Heresies publishing collective. Her awards include the Jules Guerin Fellowship and the Rome Prize from the American Academy in Rome. She has works in the Brooklyn Museum, Metropolitan Museum of Art, Jewish Museum, Whitney Museum of American Art, the National Gallery of Art, Smithsonian American Art Museum, the Fogg Art Museum, Yale University Art Museum, Los Angeles County Museum of Art, M.H. de Young Memorial Museum, among many others. She shows widely in the United States and Europe, most recently at the Galleria Michela Rizzo, Venice.


IMAGE: Targets, Acrylic on canvas with wood frame, 108 in. dia.

Joyce Kozloff: Co+Ordinates
With essays by Nancy Princenthal and Phillip Earenfight and interview with the artist (The Trout Gallery: Carlisle, PA and D.A.P., Distributed Art Publishers, New York, NY, 2008). $45. Available November 1: ISBN 978-0-9768488-8-2. Catalogue.

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Studies in Photography

March 4 - March 28

Opening Reception: Wednesday, March 4, 5-7 pm

Through a series of significant donations, The Trout Gallery has been building an important collection of photographs. This exhibition presents more than 50 photographs from the collection and is curated by Dickinson College senior art history majors: Tess Arntsen, Kristin Beach, Jennings Culver, Kendall Friedman, Elizabeth Grazioli, Flannery Peterson, Madelyn Priest, Sarah Quin, Kristen Rudy, Casey Schaffer, Lucy Stirn and Hana Thomson, under the direction of Phillip Earenfight.

Jenny Lynn, Two Faces, 1988, gelatin silver print
Gift of Mark. Connelly, 2005.5.21

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Exhibition I: April 10 - April 25
Exhibition II: May 1-June 13

Opening Receptions:
Friday, April 10, 5-7 p.m.
Friday, May 1, 5-7 p.m.

The annual Senior Studio Art Majors Exhibitions mark the culmination of a student's artistic career at Dickinson College. These exhibitions feature works by Molly Blann, Clare Cooper, Maxie Etess, Parry Grimm, Melissa Haimowitz, Tawi Hidaka, Navajeet KC, Judith Lopez, Flannery Peterson, Joshua Salim, Kristan Saloky, and Rachel Warren, under the direction of Todd Arsenault, with Andrew Bale, Anthony Cervino, Ward Davenny, and Barbara Diduk.

Click here to review the catalogue.
Brochure for Molly Blann and Josh Salim.



June 26 through August 22, 2009

The world became a smaller place in the middle of the 1800s as two emerging technologies changed everyday life in unimaginable ways. The invention of photography made it possible to record people, places and events, creating images that defied time and documented the reality of what had been. Likewise, the steam locomotive opened new possibilities for travel; where previous forms of transportation such as horse and cart or walking restricted how far one could travel in a day, the train changed the way we understood and dealt with the land we live on.

Trains are a source of mythic fascination. As children we are taken to the tracks to wait in anticipation for the train to storm by. We counted the cars as we sat at the train crossings and lay in bed, listening to the blowing whistles in the distance, longing to watch the boxcar chain. We built model railroads, recreating the sights and sounds that have drawn us to the tracks. The nostalgia of trains is used in many tourist areas as a means to provide a scenic trip through wilderness or to hard to reach towns. And behind all of the dreams, charm and enthrallment that trains evoke, the railroad continues to be a reliable and permanent way to move things and people around the world.

This exhibition features more than 50 photographs taken from the nearly 500,000 in the George Eastman House photograph collection. Together, this selection provides a survey, not only of the history of photography, from daguerreotype to digital, but also of a broad cultural history of technological advances, changing notions of landscape, and the ideas we have held in the last two hundred years. Tracks: The Railroad in Photographs from the George Eastman House Collection includes works by William Henry Jackson, Henri Cartier-Bresson, Alvin Langdon Coburn, Lewis W. Hine, Arron Siskind, William Rau, Richard Misrach, David Levinthal, Lori Nix, and Paul Fusco.

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25th Anniversary Celebration
of Gifts to The Trout Gallery

January 23 - July 11

Opening Reception: Friday, January 23, 5-7 pm

This exhibition features a number of gifts of art that have been made to The Trout Gallery during the course of its 25 years. Thanks to all the donors for their generosity and for joining in the celebration and strengthening the collections at The Trout Gallery.

Thomas Sully, Powhatan Ellis, 1853, oil on canvas
Gift of Samuel Rose and Julie Walters, 2008.9

An Enduring Impression

September 4 - September 26, 2009

Opening Reception: September 4, 5-7 pm

In 1951 and 1959, Mrs. Josephine Linn made a gift of her collection of "contemporary" prints to what was then "The Dickinson College Art Gallery" as a memorial to her late husband, the Honorable William Bomberger Linn, an Associate Justice of the Pennsylvania Supreme Court. The collection features a remarkable selection of works by American printmakers who were active during the late nineteenth and early twentieth century. Many of the prints are well known to visitors of The Trout Gallery from their inclusion in a variety of thematic exhibitions including Inked Impressions: Ellen Day Hale and the Painter-Etcher Movement (2007), 20th Century American Women Artists (1999), Trials and Triumphs: American Prints from the 1930s and 1940s (1991), and An American View: From the Country to the City (1988). Indeed, several generations of Dickinson art and art history graduates have worked with this important artistic resource. However, it is only when one surveys the entire gift of nearly 150 prints in the collection that one gains a fuller appreciation for Mr. and Mrs. Linn's astute taste for American - notably women - printmakers. An Enduring Impression provides an introduction to the Linn Print Collection and pays homage to the foresight and generosity of Mr. and Mrs. Linn.

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Contemporary Ceramic Art from Sweden

September 4 - October 31, 2009

Opening Reception: September 4, 5-7 pm

The ten artists featured in Voices are the leading exponents of the dynamism and originality of contemporary ceramic art in Sweden. Their work redefines ceramics as an art form used for freedom of expression, no longer as objects designed primarily for function. The artists, chosen by curator Inger Molin, represent different generations, each with a vastly different style and point of view, creating an exhibition that reflects not only change but the diversity of Swedish ceramics created today. From the white color and smooth clean lines used by artists Anna Sofia Maag and Kennet Williamsson that echo characteristics of the traditional Swedish Grace style, to Frida Fjellman and Marten Medbo whose works depart from tradition with color-saturated volcanoes, hares, and indefinable creatures, the artists use a wide array of media to create such dynamic works, including clay, glass, rope, glaze, and metal. However, no longer is the material of utmost importance, but instead the point of view of the ceramic artist. The artists in the exhibition work sculpturally and conceptually, addressing existential issues with humor or abstraction.

Voices: Contemporary Ceramic Art from Sweden was developed by the Swedish Institute and organized for tour by International Arts & Artists, Washington, DC.

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Prints and Politics
in Weimar Germany

November 13 - February 6

Opening Reception: Friday, November 13, 5-7 p.m.

The period between the abdication of Kaiser Wilhelm II in November 1918 and Adolf Hitler's seizure of power in January 1933 was one of great creative ferment in Germany. Expressionism, which had dominated the German avant-garde before World War I, survived into the early 1920s, merging with various newer trends. The Dada movement, founded in 1916 by a group of expatriate artists disgusted with the war effort, brought its free-form iconoclasm to bear on the postwar German society. Identifying themselves with the proletariat and taking their cue from the recently founded Russian socialist state, artists felt a duty to offer guidance and inspiration to the masses. Many participated in the flurry of activity preceding the first general election, scheduled for January 1919, which officially established the new republic's Constituent Assembly in the city of Weimar. Three major artists' coalitions were formed during this period with the purpose of shaping future cultural policy.

Unfortunately, the faith artists had placed in the infant republic soon proved to be hopelessly idealistic, as did their goal of rousing the masses through revolutionary art. The masses did not understand avant-garde art, and those who hoped that the new regime would provide more artistic freedom than its predecessor were quickly disappointed. Dire social and economic circumstances seemed to demand a more pragmatic and realistic aesthetic, and by 1925 the Neue Sachlichkeit (New Objectivity) was widely hailed as the principal mode of the decade. Though not united by a single style, German artists in the 1920s did share a willingness to confront political issues and an overriding concern with humanitarian themes. Today, when contemporary artists are again turning to overtly political subjects, a look back at Weimar Germany offers a useful object lesson about the capabilities and limitations of socially motivated art.

This exhibition features lithographs and etchings by a number of the leading artists in post-World War I Germany, including Otto Dix, George Grosz, Lea Grundig, John Heartfield, and Käthe Kollwitz, as well as a number of political posters made during the years between the wars.

Organized by Galerie St. Etienne, New York.

Käthe Kollwitz, The Agitator, 1926, Lithograph on white wove paper

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A Revolutionary Image

Thomas Sully's Portrait of Benjamin Rush

October 9, 2009 - February 20, 2010

Opening Reception: Friday, October 9, 5 - 7 p.m.

This exhibition celebrates The Trout Gallery's recent acquisition of Thomas Sully's brilliant portrait of the co-founder of Dickinson College. Painted for Benjamin Rush during the final years of his life, the canvas represents the Revolutionary figure seated before a study, amid books, documents, and a distant view of the Pennsylvania Hospital where he served on the medical staff from 1783 until the time of
his death in 1813. The portrait is one of Sully's finest works and reveals the artist's fluid brushwork and command of the leading trends in European portraiture. The work boasts an incomparable
provenance, having passed from the hands of the artist to Benjamin Rush and remaining in the Rush family until its acquisition this year by The Trout Gallery. The portrait is the centerpiece of an exhibition that features artifacts associated with Benjamin Rush and the founding of Dickinson College.

Curatorial assistance by Emma Bennett '10

Thomas Sully, Benjamin Rush, c. 1813, oil on canvas. 2009.8
Acquired through gifts from Lockwood and Jacklyn Rush, the Ruth Trout Endowment, the Helen E. Trout Memorial Fund, and the Friends of The Trout Gallery.

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Elusive Imprints

Translating the Unseen in the Twentieth Century

February 19 - April 17

Opening Reception: Friday, February 19, 5-7 pm

The Twentieth Century marked a major turning point for artists. Whereas previously, they often remained isolated in small academic communities, urbanization, war, and industrialization brought more and more creative minds together. As the physical world shrank, they began to focus on depicting not the visual world, but the unseen – that is, those concepts that were unable to be seen but, in their minds, were as truthful as empirical reality. These artists can be broadly connected to four stylistic movements: Symbolism – in those seeking to find a visual language to depict what cannot be depicted; Surrealism -- in those attempting to illustrate psychological subjects; German Expressionism -- in those seeking a diverse nationalistic responses to modern life; or, Magic Realism -- in those artists representing the implausible in visually plausible contexts. This exhibition brings together these four stylistic categories in twenty-four figural prints, spanning from 1921-1981.

This exhibition is curated by Leah Barreras, Caitlin Barrett, Anna Elliot, Caitlin Faw, Lousie Feder, Alex Geiger, Meg MacAvoy, Courtney Masters, Blair Thompson, and Amanda van Voorhees.

Stefan Eggler, III. Kriegslied, n.d., Etching on handmade paper with deckled edges. 2009.7.7.3
Gift of Joan L. Tobias



By Warhol

March 3 - April 10

Opening Reception: Friday, March 3, 5-7 pm

Curated by Neil Prinz, this exhibition considers aspects of Andy Warhol's approach to photographs and photography. Although less well known than his advertising designs and paintings, photographs - by him or by others - were often the inspiration and the point of departure for much of his finished work.

Andy Warhol, Amelio, Lucio, after 1975., Polaroid Type 108. 2008.6.70
Gift of the Andy Warhol Foundation

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found and lost and found

April 30 to May 23, 2010

Open Reception: Friday, April 30, 5 to 7 pm

The annual Senior Studio Art Majors Exhibitions mark the culmination of a student's artistic career at Dickinson College. These exhibitions feature works by Marjorie Almstead, Erin Casey, Sarah Fields, Nicole Godley, Amanda Hirsch, Catherine Sippin, and Francesca Tempesta, under the direction of Todd Arsenault, with Andrew Bale, Anthony Cervino, Ward Davenny, and Barbara Diduk.


above and below

Skyscrapers to Subways in New York City


June 4 - August 21, 2010

The first half of the twentieth century was an eventful period in New York City history. The five boroughs had only recently been consolidated into their present day political organization, waves of European immigrants poured into the city, and Tammany Hall still wielded considerable power. In the years that followed, New York grappled with the Great Depression, extreme unemployment, breadlines, federal work projects, and the Second World War.

Between 1900 and 1950 New York, the largest city in America, arguably became most important cultural and political center of the country. This challenging time also marked a period of tremendous physical, economic, and social growth for New York that resulted in the creation and expansion of some of the city’s most salient features—the skyscraper, skyline, subway, and elevated rails. This exhibition explores how artists viewed these emerging architectural and engineering icons within the context of the every evolving city of New York.

Image: S. L. Margolies, Man's Canyons, 1936, aquatint and etching

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Associated American Artists

Art by Subscription

September 3–October 16, 2010

Opening Reception: September 3, 5–7 p.m.

Art by Subscription
brings together fifty Depression-Era prints by such leading American artists as Thomas Hart Benton, John Costigan, John Steuart Curry, Mabel Dwight, Doris Lee, Reginald Marsh, Peggy Bacon, and Grant Wood. The prints were among the thousands commissioned and distributed by Associated American Artists (AAA), a business venture formed in 1934 by art agent and publicist Reeves Lewenthal. The prints were predominantly representational and regional in subject matter and sold for $5 a piece. They were aimed at the American middle class, promoted in Time and Readers Digest magazines, and sold in department stores and through mail-order catalogues as educational “art for the people.” Despite the dire economic times of the 1930s, Lewenthal’s concept of affordable “signed originals by America’s great artists” worked. By 1944, Lewenthal had more than one hundred artists making prints for AAA with sales exceeding 60,000 prints each month. Lewenthal’s venture not only generated profits for AAA, it provided many artists with a means to survive. Today, the prints made for AAA represent a vital chapter in American printmaking and are widely sought-after by collectors.

Organized by the Springfield Museum of Art, Springfield, Ohio.
Tour Management by Smith Kramer Fine Art Services, Kansas City, Missouri.

Image: Grant Wood, Approaching Storm, 1940, Lithograph, Gift of Susan Wayne and Leslie Wayne Loftus,
Springfield Museum of Art, Springfield, Ohio

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Modern Prints and Promotion

September 3, 2010–February 19, 2011

Opening Reception: September 3, 5–7 p.m.

From 1946 to 1982, the acclaimed French art dealer, collector, and publisher Aimé Maeght produced the journal Derrière le Miroir (DLM)—Behind the Mirror—as a promotional tool for his Galerie Maeght in Paris. Over the span of thirty-six years, Maeght published two hundred and fifty issues of DLM, roughly one each for the exhibitions mounted at the Galerie, which featured many of the leading contemporary artists including Georges Braque, Ferdinand Léger, Marc Chagall, Joan Miró, Alberto Giacometti, Alexander Calder, Eduardo Chillida, and Antonio Tàpies. The journal was itself a work of art. It featured a large format (38 x 28 cm), modern design, several original lithographs by the featured artist (printed exclusively by Mourlot Atelier, Paris), and new, specially commissioned poems, prose, or analysis by contemporary writers including Louis Aragon, Samuel Beckett, René Char, Paul Éluard, Jacques Prévert, Raymond Queneau, Pierre Reverdy, and Jean-Paul Sartre. While designed to promote the exhibitions and the sale of the artists’ works on display at the Galerie, the inclusion of original lithographs in DLM enabled collectors of any means to acquire fine prints by contemporary masters. In addition to DLM, the Galerie also produced original lithographic posters for its exhibitions, which likewise are widely collected today. This exhibition is drawn from works in the museum’s permanent collection and considers the Galerie’s pioneering approach to contemporary prints and art marketing.

Image: Alexander Calder, Untitled, 1968, lithograph, Derrière le miroir (173), 1969.1.15.77

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Tools in Motion

Works from
the Hechinger Collection

October 29–February 5, 2011

Opening Reception: October 29, 5–7 p.m.

Tools in Motion
brings together a clever selection of art that incorporates everyday tools and hardware. Drawn from the Hechinger Collection, the works in this exhibition toy with many of the forms and ideas pioneered in Pop Art, but with an ironic playfulness. The works in Tools in Motion demonstrate how everyday tools take on a life of their own when seen from a new perspective, combined with other objects, or presented in conjunction with like works. The exhibition features the work of forty-one artists, including Armand P. Arman, Jim Dine, Jacob Lawrence, Marte Newcombe, Claes Oldenburg, and Maria Porges.

Exhibition organized by International Arts & Artists, Washington, DC and featuring works from International Arts & Artists’ Hechinger Collection.

Image: Jim Dine, Tool Box 3, 1979, serigraph

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Bawdy Brits
& West End Wit

Satirical Prints of the Georgian Era

February 18–April 16

Opening Reception: Friday, February 18, 5–7 p.m.

During the late eighteenth and early nineteenth centuries, British printmakers such as James Gillray (1756–1815), George Cruikshank (1792–1878), and others produced thousands of satirical prints that mocked various aspects of contemporary society. No person or institution, however powerful or sacred, was spared. Politicians, the nouveau riche, social climbers, the church, and the crown all came under the artists’ witty attack. The satirical prints were sold individually by publishers and booksellers and collected widely in England and Europe, as well as in America. As the forerunner to the modern political cartoon, the prints provide a view into the golden age of British satire. This exhibition considers a selection of satirical prints on loan from the Brookes V Partnership, which is part of a promised gift to The Trout Gallery. The exhibition is curated by senior art history students Emily Bastian, Christy Gray, Aimee Laubach, Emily Maran, Matthew Morowitz, Allison Schell, Carey Stadnick, Margaret Staudter, Laura Wilson, Lauren Woodcock, and Kathryn Zell, under the direction of the Phillip Earenfight.

Image: James Gillray, The King of Brobdingnag and Gulliver, 1804, engraving with hand coloring. Promised gift in honor of Emily and Richard Ginsburg


Senior Studio Art Majors

E x h i b i t i o n

April 29–May 22
Opening Reception: Friday, April 29, 5–7 p.m.

The annual Senior Studio Art Majors Exhibition marks the culmination of a student’s artistic career at Dickinson College. This exhibition features thesis projects by Ethan Grosso, Christina Neno, and Sophia Rothbart under the direction of Anthony Cervino and Ward Davenny and with Todd Arsenault, Andrew Bale, and Barbara Diduk.


Red Gold

West African Currency Objects

March 4–August 6

Opening Reception: Friday, March 4, 5–7 p.m.

In many West African societies, copper once permeated every aspect of life. Prior to the twentieth century, copper (used here as a blanket term for a variety of metals including copper, bronze, iron) served as a medium of exchange, display, and decoration, and to denote temporal and spiritual authority. From an economic perspective, certain copper objects functioned like coin currency, having an intrinsic value in addition to its monetary value. Copper was also used to fashion everyday tools, jewelry, decoration, and religious and political implements. These items functioned in a variety of contexts, from farming and cooking to marriage and funerary rituals. Copper was essential to a number of religious practices and gods, such as Ogun, who protected those who cast, fashioned and used copper items of all types. While copper remains vital among the small minority who practice indigenous beliefs, for most in West Africa, the material no longer occupies such an important place in society. This exhibition presents an introduction to this complex media and how it functioned among a number of West African societies. It is organized loosely around the themes of exchange, art, and power. However, given the degree to which copper and related metals played a vital role in society and the way in which many copper objects served more than one function, such categories suggest a range of approaches, but do encompass all the ways to consider this important media.

This exhibition is curated by Matthew Morowitz ’11. The works in this exhibition are part of a larger gift of African objects given to The Trout Gallery by Karina Rilling and David Rilling, Class of 1962.

Image: Mbole, Anklet, copper. Gift of Dr. David ’62 and Karina Rilling, 2008.20.39


Image! Text!


Posters and Newsreels from the American Homefront: 1941-1945

June 3 - August 13, 2011

World War II led to the largest mobilization of labor, resources, and ingenuity in American history. Such a massive effort required extraordinary communication measures on the home front. This exhibition considers the role of posters and newsreels as some of the means by which the United States Government urged its citizens to act in support of the war effort. Through an efficient and powerful combination of image and text, the posters and newsreels compelled Americans to enlist in the armed forces, buy war bonds, conserve natural resources, maintain a united spirit, and a number of other supporting activities. This exhibition illustrates how the development new printing technologies and the advent of the popular cinema provided vehicles for reaching millions who were spread across the vast American nation. Together, posters and newsreels shaped a home front culture of patriotic support and self-sacrifice.

The works in this exhibition are part of a larger gift of World War II posters given to The Trout Gallery by Robert and Francisca Kan.

Photo Captions:

Artist Unknown, Buy War Bonds, c. 1941–45, offset lithographic poster,
The Trout Gallery, Gift of Robert and Francisca Kan, 2006.6.153.

Picasso and the Circus
Fin-de-siècle Paris and the
Suite de Saltimbanques

September 2, 2011–October 12, 2011

Opening reception: Friday, September 2, 5–7 p.m.

Picasso and the Circus examines a pivotal moment in Picasso’s early career, between his Blue and Rose periods, c. 1900–1905. At this point he was increasingly drawn to the subject of the circus in Paris, where he and his colleagues frequented during the early years of the twentieth century. The exhibition focuses exclusively on prints, and is divided into two separate but interrelated components. The Circus in fin-de-siècle Paris considers the subject of the circus and the role of such entertainment spectacles in the art of the time. This component includes a variety of prints representing the circus by artists working in fin-de- siècle Paris, in particular, lithographic posters made specifically for such events. The second component of the exhibition, La Suite de Saltimbanques (1904–1906), features all fifteen prints from Picasso’s most important early print series. It includes The Frugal Repas, one of Picasso’s early masterpieces in etching. These prints occupy a crucial point in the artist’s career, appearing after his earlier youthful work and just a year before his monumental Les Demoiselles d’Avignon and portrait of Gertrude Stein.

A collaborative exhibition with works from The Zimmerli Art Museum, Rutgers University, New Brunswick and
Fundación Pablo Ruiz Picasso / Museo Casa-Natal, Málaga

The exhibition is organized to commemorate the twenty-fifth anniversary of Dickinson College’s study abroad program in Málaga, Spain—the birthplace of Pablo Picasso

Essays by Christine Giviskos, Associate Curator, Zimmerli Art Museum, Rutgers University
Fernando Martín Martín, for the Fundación Pablo Ruiz Picasso / Museo Casa-Natal, Málaga

Photo Captions:
Pablo Ruiz y Picasso, La comida frugal (The Frugal Repas), second state b, 1904, etching and scrapper on zinc, Fundación Pablo Ruiz Picasso / Museo Casa-Natal, Málaga



Renaissance, Baroque, and Early Modern Prints
and Drawings from the Darlene K. Morris Collection

August 22–November 22, 2011

Public Lecture: “Old Master Prints and the Print Trade,” Alan Stone, Hill-Stone Gallery (New York), 6:00-7:00 p.m. Weiss 235
Reception: Friday, September 2, 5–7 p.m.

This exhibition presents a superb collection of old master and modern prints and drawings, representing many of the leading artists from the Renaissance to the mid-twentieth century. It features a wide range of works by many of the leading masters and includes a number of examples of printmaking media, from woodcuts, to hand-colored engravings, etchings, lithographs, drypoint, and silkscreen, as well as drawings. This selection covers a wide range of subjects, including biblical scenes, portraiture, daily life, landscapes, classical allegories, and genre scenes. It features works by Lucas Cranach, Albrecht Altdorfer, Albrecht Dürer, Lucas Van Leyden, Francesco Vanni, Hendrick Goltzius, Rembrandt van Rijn, Claude Lorrain, Adriaen van Ostade, Giovanni Domencio Tiepolo, Francisco Goya, Angelika Kauffman, Giovanni Francesco Grimaldi, Jan Van Goyen, Jean-François Millet, James McNeill Whistler, Alfred Sisley, Mary Cassatt, Pierre Auguste Renoir, Pierre Bonnard, Reginald Marsh, Grant Wood, Thomas Hart Benton, Henri Matisse, and Jacob Lawrence.


Photo Captions
Giovanni Francesco Grimaldi, An Extensive Wooded Landscape with Travelers on a Road, n.d., brown ink, wash, white chalk on brown paper

Reflections and Undercurrents:
Prints of Venice, 1900-1940


October 21, 2011 - February 4, 2012

Public Lecture: “In the Wake of Whistler,” Eric Denker ’72,
4:00-5:00 p.m. Weiss 235
Opening Reception: Friday, October 21, 5-7 pm

In the 1880s, James McNeil Whistler revolutionized the way artists represented the city of Venice by producing images that moved away from the major tourist monuments to depict the squares, back alleys, and isolated canals, that only residents knew. His novel approach inpired generations of printmakers who worked in Venice. This traveling exhibition concentrates on a number of those artists, including Ernest David Roth, John Taylor Arms, Louis Rosenberg, John Marin, Herman Armour Webster, and Fabio Maurone. Guest curator: Eric Denker '75, senior lecturer, National Gallery of Art, Washington, DC.


Julius J. Lankes
and the Art of the American Woodcut

December 2, 2011 - February 18, 2012

Public Lecture: “Julius J. Lankes and the Art of the American Woodcut,” Jennifer Rokowski ’12, 4:30-5:00 p.m. Weiss 235
Opening Reception: Friday, December 2, 5 - 6 pm

Julius J. Lankes is among America's leading woodcut artists of the first half of the 20th century. His emphasis on handcrafted prints, made slowly and deliberately, was part of a printmaking revival in England and America that began during the second half of the 19th century. This exhibition, which features prints by Lankes, focuses on the artist's contribution to this important period in American printmaking. Student curator Jennifer Rokoski '12. Features works given to The Trout Gallery by the children of J.J. Lankes.


Exploring the Senses:
Beyond the Frame

February 17 - April 14

This exhibition will explore ways in which artists have engaged the full range of sensory experience through works representing a diversity of media, cultures, and historic periods. It is curated by Dickinson College senior art history majors under the direction of Elizabeth Lee.

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The Necessity of a
Wandering Consciousness

Senior Studio Art Majors Exhibition


April 25 - May 20, 2012

This exhibition features thesis works by Megan Alley, Mae Beattie, Rena Collector, Jennifer Crowley, and Samantha Stahl, under the direction of Ward Davenny, with Todd Arsenault, Andrew Bale, Kristopher Benedict, Anthony Cervino, Barbara Diduk, and Anthony Wolking.

A Confluence of Worlds:
Balinese Paintings from the 1930s and '40s

Opening Reception: March 2, 4-6 pm

March 2 - August 2012

A variety of worlds come together in vivid descriptions of Balinese life. This exhibition examines continuity and changes in Balinese painting style in works from the 1930s and 1940s. These images were made for colonial patrons as well as for the indigenous Balinese audience. Curated by art history major Emily Rother, '12.

Balinese, Monkey King (Sugriva?) and a flying female divinity in the forest, mid 20th c., Watercolor
Gift of Joseph Ellis, 1985.8.40.18

Paris ... toujours


August 31 - October 27, 2012

Paris … toujours
explores the history and architecture of the ever-enduring City of Lights. The exhibition highlights the city's bridges, churches, boulevards, and famous monuments through a selection of prints and photographs from the 19th and 20th centuries. Designed with the armchair traveler in mind.

Jean Dufy (French, 1888-1964), View of Paris, n.d., Watercolor and gouache
Gift of Henry and Donna Clarke, 1983.1.1

The Floating World

Ukiyo-e Prints from the
Lauren Rogers Museum of Ar

August 17, 2012 – February 9, 2013

During Japan’s Edo (Tokogawa) period (1615–1868), the art of ukiyo-e woodblock printmaking reached a high water mark in quality, brilliance, and innovation. The exhibition features a range of subjects including theatrical actors and musicians, genre scenes, still-lifes, and landscapes.

Outdoor Movie
Dreams, 1990
Akira Kurosawa, Ishiro Honda

Friday, August 31, 2012, after dusk - 8 pm
The green next to The Trout Gallery
(rain location Weiss Center for the Arts, Room 235)
Free to the public

Public Lecture
Friday, September 28, 2012, 4-5 pm (Homecoming Weekend)
Weiss Center for the Arts, Room 235
Reception: 5-7 pm
"A Pinnacle of Printmaking: Japanese Color Woodcuts in Edo," Andrew Stevens, Curator of Prints, Drawings, and Photographs, Chazan Museum of Art, University of Wisconsin-Madison

Free to the public


Utagawa Hiroshige (Japanese, 1797-1858), Number 88: Oji, Taki no Kawa (The Waterfall River at Oji), 1856
Series: Meisho Yedo Hyakkei (One Hundred Famous Views of Edo)


Articulating and American Aesthetic
Frank von der Lancken

February 22 – April 13, 2013

Opening Reception: Friday, February 22, 5 to 7 pm

This exhibition features an in-depth study of the work of Frank von der Lancken, an early 20th-century painter and art educator. It is curated by senior art history majors Britton Chance, Virginia Dudley, Margot Eberle, Shayna Goodman, Sarah Howard, Elizabeth Key, Jessica Moran, Marie Petersen, Rachel Webber, and Christina Wolf, under the direction of Melinda Schlitt, professor of art and art history.



Recent Acquisitions at


November 10, 2012 – March 23, 2013

This exhibition celebrates recent gifts of art to the museum by the Friends of The Trout Gallery. It features a range of important works from vintage photographs and prints to anthropological artifacts and testifies to the dedication and generosity of the museum’s supporters.

Kongo, Nail Fetish Figure, n.d. Wood, cloth, and nails
Gift of Joan L. Tobias, 2010.1.1