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23.01.2022 Celebrating the first day of Winter with this lovely screenprint by Barbara Hanrahan, 'Winter' (1977) http://www.printsandprintmaking.gov.au/works/4371/ #collectionfishing

23.01.2022 Johanna here, signing out of the ‘Australian Prints + Printmaking’ Facebook and Instagram accounts. I have had the most wonderful time discovering the National Gallery of Australia’s print collection over the past year and it has been lovely to be able to share it with you all. But the time has come for me to hand over to the next Gordon Darling Graduate Intern. Although I will be kicking up my heels, you can expect many more delightful posts very soon. Like this work by Joyce Allen. A student of Thea Proctor in the 1950s, Allen’s graphic linocuts are humorous and joyful insights into everyday life. #NGAprints #ausprints #prints #printmaking #KnowMyName #JoyceAllen #linocut Joyce Allen, ‘Man resting’, 1990, linocut, printed in black ink, from one block, Gift of Sarah, Jocelyn and Nicholas, the artist's children, in loving memory, 1993.

17.01.2022 Women’s dreaming continues. It is forever changing. Our business was never silenced before the white man came. We are still here. We will always be here. Things may have changed but we will still have business. We are strong. We will not be silenced. Happy International Women’s Day! To celebrate we have one of our favourite posters which was produced at Western Sydney’s Garage Graphix for the Aboriginal Women's Working Party in 1988. Compositionally mirroring the Aborigina...l flag, the text in the central yellow circle conveys a message of strength, unity and cultural endurance. Around it a group of women and children gather, brought together by a rhythmic sweep of patterning which weaves them into a never-ending circle. #NGAprints #ausprints #prints #printmaking #KnowMyName #GarageGraphix #IWD2020 #InternationalWomensDay Garage Graphix, Aboriginal Women's Working Party, ‘Women's dreaming continues’, 1988, screenprint, printed in colour inks, from multiple stencils, Gift of Marla Guppy 2019.

17.01.2022 Whilst artist Jacqueline Hick primarily worked as figurative painter throughout her long and successful career, she also made prints and enamel works. Hick was taught to etch by John Goodchild at the South Australia School of Arts and Crafts in the early 1940s. Due to wartime material shortages she had to employ unconventional printmaking methods, which remained part of her practice even after the war. ‘Third generation’ shows three women, each offset against a vertical panel... which marks out the composition into three different areas. Hick’s work often demonstrates her astute observations of people, and here each woman’s unique character is perceptible through their clothing, pose, gaze and hands. #NGAprints #ausprints #prints #printmaking #KnowMyName #JacquelineHick #aquatint Jacqueline Hick, ‘Third generation’, 1944, aquatint, printed in black ink with plate-tone, from one plate, Purchased 1989.

16.01.2022 'Purple-capped lory' by Alexander Francis [A.F.L.]. Lydon, 1884. lithograph, printed in black ink, from one stone; hand-coloured http://printsandprintmaking.gov.au/works/24458/ #collectionfishing

11.01.2022 Unfortunately, the National Gallery has had to shut its doors today temporarily until further notice. The health and wellbeing of staff and visitors is most important to us, and this precautionary measure will ensure their safety and assist health services in their efforts against novel coronavirus, COVID-19. Our featured print today was one shared to us by the legendary postermaker and activist Chips Mackinolty. He reminds us of an important preventative action in these extreme conditions which is to 'stay at home', and please do not visit Indigenous communities. The Australian prints team here at the Gallery passes on the warmest wishes to all our followers during this uncertain time.

11.01.2022 Wonderful to see incredible Australian printmakers celebrated in Christina Weyl's recent publication 'The Women of Atelier 17'. Margaret Cilento was one such artist who travelled to New York in 1947 and worked at the Atelier learning from printmaker and facilitator Stanley William Hayter. Cilento's work 'Skull and kite' (1949) is an evocative etching from this period showing her exploration of symbolism. #MargaretCilento #Atelier17 #WillliamHayter #Museumfromhome #prints #printmaking #Australianprintsandprintmaking Margaret Cilento, 'Skull and kite', New York, 1949, etching and aquatint, printed in black ink with plate tone, from one plate, 21.2 x 17.6 cm, 97.1019

07.01.2022 Today, our treasured colleague Roger Butler AM, Senior Curator of Australian Prints, Drawings & Illustrated Books, will retire after 39 years at the National Gallery of Australia. Roger is one of Australia's longest-serving public art curators and has been instrumental in developing the region’s most comprehensive collection of prints. Over his impressive tenure has curated pioneering exhibitions, developed comprehensive publications and has been a leader in collection digiti...sation and access. Roger has been an important and much-loved mentor and educator in the field of prints, facilitating the Gordon Darling Graduate Internship and the Gordon Darling Fellowship, positions which were made possible by the longstanding support of the Gordon Darling Foundation. Roger will now commence as the National Gallery's inaugural Emeritus Curator. Please find more information on Roger’s new website http://rogerbutler.com.au/ See more

07.01.2022 We are on holiday today for Canberra Day a day which celebrates the official naming of our bush capital. Bea Maddock’s print ‘Canberra’ depicts the iconic Canberran brick home. One of Australia’s most renowned printmakers, Tasmanian born Maddock often explored the urban environment in her prints. This print is less introspective than much of her other work, and the subject addresses the audience with a smile while leaning against the bright yellow-brown façade. Maddock was a Creative Arts Fellow at the Australian National University in Canberra in 1976. #NGAprints #ausprints #prints #printmaking #KnowMyName #BeaMaddock #lithograph #Canberra #CanberraDay Bea Maddock, ‘Canberra’, March 1973, offset-lithograph, printed in colour ink, from four zinc plates, Purchased 1973.

06.01.2022 Spotted! Prints lurking in the wild created by Megalo Print Studio and Gallery. Hoping our community is staying well in these strange and uncertain times. #Australianprints #posters #Megalo #Inthesestrangeanduncertaintimes #Canberra #printmaking #artistheanswer

05.01.2022 Have a play with our Subjects Explorer, an innovative way to discover works in the collection based off subject data. You never know what you'll find! http://printsandprintmaking.gov.au/explore/subjects-explorer

05.01.2022 Kenneth Jack completed his teachers certificate at Melbourne Technical College (now RMIT) while undertaking his secondary certificate at Melbourne High School. After working as a survey draughtsman during WW2, he undertook further teacher training and learnt printmaking as part of the Commonwealth Reconstruction Training Scheme. With the advent of the Australian print revival of the 1950s, Harold Freedman invited Jack to partake in evening classes at the Melbourne Technical C...ollege printmaking facilities. Jack’s prints often featured the rural landscape. This detailed engraving shows a remarkable sense of dynamic movement conveying the rhythm of two men sawing at the log. #NGAprints #ausprints #prints #printmaking #KennethJack #engraving #woodcutting Kenneth Jack, ‘The woodcutters’, 1953, engraving, printed in black ink, from one perspex block, Purchased 1986.

05.01.2022 What we see is a solid mass of concrete and intricate lacework of iron made more intricate by the play of light and shade; something that giants might play with as a child would with his Meccano set In years to come when we dash over the Bridge in our taxi or take a ‘walk’ across to see our Harbour, we, who have watched it progress and sketched or photographed its parts, will feel with these workmen a sort of pride of possession, and it will be OUR BRIDGE too. Jessie Trai...ll was given special access to observe workers building the Harbour Bridge from the top deck. She made eight prints depicting the colossal structure in progress between 1927 and 1931. In this closely cropped composition, an enormous pylon emerges on the right, supporting the latticed web of iron and dwarfing the city below. #NGAprints #ausprints #prints #printmaking #KnowMyName #JessieTraill #etching #aquatint #SydneyHarbourBridge Jessie Traill, ‘The red light, Harbour Bridge, June 1931’, 1932, aquatint and etching, printed in brown ink with plate-tone, from one plate; additional hand-colouring in gouache, Purchased 1987.

03.01.2022 'Demonstrator' by Noel Counihan, 1978. http://printsandprintmaking.gov.au/works/13862/ #collectionfishing