The IFPDA FoundationViewing Rooms

2026

Marie Bracquemond’s Drawings for Modern Life (La Vie Moderne)

October 2, 2026 · 12:00 – 1:00 PM ET · Online

Presented by Print Council of America

Marie Bracquemond, Self-portrait, ca. 1870. Charcoal, brown wash, and white gouache, 21 1/4 × 14 15/16 in. (54 × 38 cm). Purchase, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 2024 (2024.622a)
Marie Bracquemond, 'Self-portrait', ca. 1870. Charcoal, brown wash, and white gouache. Purchase, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 2024 (2024.622a)

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Speaker

  • Ashley E. Dunn — Curator, Drawings & Prints, The Metropolitan Museum of Art

Thanks to the recent reemergence of many drawings, Marie Bracquemond’s graphic practice is primed to be considered anew. One of only three women who exhibited with the Impressionists under her own name, Bracquemond became a monthly contributor to the new illustrated weekly La Vie moderne in 1881. The works she prepared for publication feature the seasonal activities of modern bourgeois women and represent one of the artist’s major drawing projects. This talk will examine the subtle differences in her technique when preparing drawings for etchings, photomechanical reproduction, or as independent works for exhibition.

  1. María de Los Angeles drawing on a screen at Sparkle Taffy, in Hamden CT.

    2026OnlineUpcoming

    Print, Cut, Layer, Repeat: Joyce Kozloff, María de Los Angeles, and Judith Solodkin in Conversation

    October 30, 2026 · 12:00 – 1:00 PM ET

    Joyce Kozloff, María de Los Angeles and Judith Solodkin

    How does a drawing become a print—and how does a print continue to evolve long after it leaves the press? Bringing together artist Joyce Kozloff, artist María de Los Angeles, and master printer Judith Solodkin, this conversation traces the creative possibilities that emerge through collaboration, experimentation, and reinvention across generations of printmakers. The discussion begins with Kozloff's groundbreaking lithographs produced at the Tamarind Lithography Workshop in the early 1970s and her decades-long collaboration with Judith Solodkin, the first woman to graduate from Tamarind's Master Printer program and founder of SOLO Impression Inc., as they reflect on the collaborative process of fine art lithography, in which an artist's marks on stone, plate, or film are translated into a printable matrix through successive proofs and layers of color. As drawing becomes editionable, the print workshop becomes a place of dialogue, investigation, and technical discovery. The conversation will consider printmaking not simply as a medium but as a way of thinking—one rooted in collaboration, revision, and continual transformation. By bringing together a pioneering master printer, an artist whose formative lithographic experiments shaped an interdisciplinary career, and an emerging artist expanding the possibilities of graphic art today, the panel highlights the enduring vitality of drawing and printmaking. Moderated by Elisa Germán, Lunder Curator of Works on Paper and Whistler Studies, Colby College Museum of Art

  3. Tiffany Studios (American, 1902–32). Design for interior, First Presbyterian Church, Poughkeepsie, New York (detail), ca. 1906-08. Transparent and opaque watercolor, and graphite on transparent paper.

    2026OnlineUpcoming

    Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany

    October 27, 2026 · 12:00 – 1:00 PM ET

    Alice Cooney Frelinghuysen

    Join Alice Cooney Frelinghuysen, The Met’s Anthony W. and Lulu C. Wang Curator of American Decorative Arts, for a behind the scenes webinar on the stories and surprises behind the exhibition *Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany*. The dazzling stained-glass windows, lamps, mosaics, and interiors from the studios of the visionary American artist Louis Comfort Tiffany—hallmarks of the Gilded Age—began as drawings created by the many talented designers in Tiffany’s studios. Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany showcases rare design drawings to take us behind the scenes of the studios where the drawings were made and ultimately transformed into enduring works of art. Intended for commissions dating from the mid-1880s through the 1920s in the U.S. and internationally, the nearly 120 luminous watercolor drawings present the first step in the artistic process for interiors and decorations for the grand mansions, civic and sacred spaces, and other buildings created during America’s Gilded Age, the post–Civil War era that saw an unprecedented accumulation of wealth. The featured drawings, all from The Met collection, have never before been studied in depth, and the exhibition celebrates the decades-long conservation initiative that restored them to their full beauty. Along with new insights into the artists’ process and design inspiration, the drawings offer a unique opportunity to peel back the layers of some of the most heralded creations produced by Tiffany's legendary studios.