{"id":194,"date":"2016-12-29T05:20:17","date_gmt":"2016-12-29T05:20:17","guid":{"rendered":"https:\/\/sites.smith.edu\/printmaking-workshop-series\/?page_id=194"},"modified":"2017-09-26T14:46:59","modified_gmt":"2017-09-26T14:46:59","slug":"yvonne-jacquette-1990-1991","status":"publish","type":"page","link":"https:\/\/sites.smith.edu\/printmaking-workshop-series\/yvonne-jacquette-1990-1991\/","title":{"rendered":"Yvonne Jacquette, 1990-1991"},"content":{"rendered":"
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Patricia Branstead pulls the fourth color of a five color etching while Yvonne Jacquette examines the result.<\/figcaption><\/figure>\n
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Patricia and Yvonne study and discuss the proof of the five-color etching while Dwight looks on.<\/figcaption><\/figure>\n

Yvonne Jacquette<\/strong>
\nPatricia Branstead, printer
\n1990-1991<\/span><\/span><\/p>\n

Workshop: November 6-10, 1989<\/strong><\/p>\n

Yvonne Jacquette studied at the Rhode Island School of Design. She is well known for her aerial views of urban landscapes. Represented in many collections, including the Metropolitan Museum of Art and the Museum of Modern Art in New York, Jacquette has participated in numerous group as well as solo exhibitions. She has taught throughout her career including at the University of Pennsylvania and the Pennsylvania Academy of the Fine Arts Graduate School.<\/span><\/p>\n

After a brief period as an abstract painter, Jacquette began creating images of landscapes and cityscapes after acquiring a summer home in Maine in 1965. Many of these paintings were executed in series that reflected changes in light and color during different seasons and times of day. They also feature a preoccupation with the sky, and more particularly, clouds. In 1973 the artist took an airplane flight in order to gain a different perspective for her sky and cloud images, but she instead became captivated by the scene of the land below her. She began making aerial views of the ground shortly thereafter, a subject that has preoccupied her ever since. Jacquette\u2019s aerial views are not literal transcriptions, but draw upon sketches and photographs produced while in the air, her memories of the flight, and her imagination.<\/span><\/p>\n

Patricia Branstead was the first female master printer to work at the Smith College Print Workshop. She was specifically requested for the workshop by Jacquette, who had worked with Branstead at her studio in New York.<\/span><\/p>\n