JOSEPH GOLDYNE: Paintings / Works on Paper / Sketchbooks by akohsassociates

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JOSEPH GOLDYNE

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JOSEPH GOLDYNE PAINTINGS / WORKS ON PAPER / SKETCHBOOKS

C L A R I N DA C A R N E G I E A RT M U S E U M

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CONTENTS

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PREFACE Karen and Robert Duncan

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FOREWORD Trish Bergren

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INTRODUCTION Anne Pagel

JOSEPH GOLDYNE: WATERFALLS IMAGINED Jeremy Tessmer

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BIOGRAPHY

BIBLIOGRAPHY

SELECTED PUBLIC & PRIVATE COLLECTIONS

ILLUSTRATIONS

ACKNOWLEDGMENTS

COLOPHON

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PREFACE

TWO YEARS AGO , we had the privilege of visiting with Joseph and Debbie

Goldyne in their home and his studio in Sonoma, California. Walking through this lovely home, we recognized kindred spirits. Like us, the Goldynes have collected art, books and artists’ books with a focused passion. Yet, there were three notable differences. We are often drawn to three-dimensional art and our large-scale sculptures even include artists who are generally known for their paintings, such as Georgia O’Keeffe, Jim Dine and Jennifer Bartlett. The Goldynes show a definite preference for two-dimensional works. Tucked throughout the Goldynes’ home are several of Joseph’s works— waterfalls, still lifes and portraits—small jewels that fit perfectly and make the home unique. There is a quiet intimacy that threads through this accumulation. Seeing the scope of the collection provides insights into the artist and his creative skills. While our collection focuses on 20th- and 21st-century art, theirs also includes historic works such as wonderful 18th- and 19th-century Japanese

OPPOSITE Joseph Goldyne Studio Sonoma, CA, 2019

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scroll paintings. Some of these elegant images of waterfalls have influenced the artist or represent an era and school of art that have interested him. We are thrilled that a number of these works will be included in the Clarinda Carnegie Art Museum’s exhibition, Joseph Goldyne: Ephemeral Memories. These will be the most historic works ever shown in the museum we established in our hometown four years ago. But more significantly, we think they will provide children and adults the opportunity to gain insights on how the creative process unfolds. Visitors will be able to look at Goldyne’s works side-by-side with the Japanese paintings. We believe they might be surprised to find that one of the lessons Goldyne learned from these Asian artists is the effectiveness of untouched paper or canvas, both as integral aspects of an image or a means of directing attention to a subject. We have been admirers and proud collectors of Joseph’s work for several years and are delighted that CCAM’s collection now includes 17 of his paintings and original prints. We are deeply appreciative to him and members of his family for their contributions to the museum. Credit is also due to Anne Kohs & Associates for help with the exhibition and publication of the catalogue. Finally, we acknowledge CCAM’s director, curator, preparator and others who organized and carried out preparations for this beautiful exhibition. Karen and Robert Duncan

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Sculptures from the Karen and Robert Duncan Collection (See complete listings, page 47 ) Karen and Robert Duncan, 2017 Cole Sartore, Photographer

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FOREWORD

I CAN’T THINK OF A MORE FITTING exhibition for the Clarinda Carnegie

Art Museum than Joseph Goldyne: Ephemeral Memories. These exquisite works are sure to interest our audience in a diversity of ways. CCAM opened on December 3, 2014, thanks to the vision, generosity and hard work of Karen and Robert Duncan—Lincoln, Nebraska, art collectors who grew up here in Clarinda, Iowa. The 14 exhibitions presented thus far have drawn some 60,000 visitors to our community of 5,000.They have come from neighboring towns, greater Iowa, contiguous states, virtually all of the 50 states and 15 countries as far-flung as India, Germany, Korea, Colombia, Mexico, France and Canada. Anchoring that attendance are local adults who visit because they enjoy art, children who come with their school classes and teens who participate in workshops and youth programs. Schools within a one-hour bus ride from CCAM are eligible by state statute to bring classes . . . and they come in droves. Big yellow buses pull up to CCAM 30 times every year bringing a total of 9,000 children who learn about the artists who created the works exhibited, how the pieces were made, and why this art is special.

Clarinda Carnegie Art Museum, Clarinda, Iowa Alley Poyner Macchietto Architecture, Erin Giannangelo, Photographer

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CCAM’s most substantial and exciting contribution has been in its wide-ranging programs for youth—from class visits to workshops to summer camps to art clubs. Ongoing programs include C-BLOC, a community-wide youth coalition started by CCAM in 2016, and a Junior Docent Program. One of the most heartening aspects has been seeing youngsters just hanging out at the museum because they have found it a fun place. While our adult audiences are sure to find the Goldyne exhibition soothing and contemplative, we will encourage our young visitors to take a broader, in-depth view. Students will have opportunities to learn more about print media, particularly aquatint, monotype and monoprint processes.They will see that an artist’s works aren’t created in a vacuum, but rather by looking at and understanding the production of artists who might have lived centuries before. They will learn about metaphorical substance. They may discuss how an image of perishable food makes reference to the passage of time, or how water pouring over an outcropping might symbolize change. In fact, the concept of water’s fundamental significance is meaningful to Iowans of every age. We Midwesterners, particularly our farmers, are oftentimes plagued with too much or too little of this vital resource. It is certain that some of the most interesting conversations about the Goldyne exhibition will spring from the children’s curiosity. They seem to have an infinite capacity to surprise and delight. I would like to thank Joseph Goldyne, as well as Karen and Robert Duncan, for loaning works for this exhibition. CCAM is particularly proud to include 17 of the artist’s paintings, drawings and prints given to the museum by the Goldyne family. We are deeply appreciative.These works will make a meaningful impact on our educational and community enrichment activities. Trish Bergren, Director Clarinda Carnegie Art Museum

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Interior views, Clarinda Carnegie Art Museum Alley Poyner Macchietto Architecture, Erin Giannangelo, Photographer BELOW, LEF T/RIGHT

Students in CCAM educational program Sandra Williams, Photographer Interior view, Clarinda Carnegie Art Museum Alley Poyner Macchietto Architecture, Erin Giannangelo, Photographer

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INTRODUCTION

JOSEPH GOLDYNE’S WORKS are an autobiography of sorts. His images

include such personal objects as favored books with time-softened corners, well-worn jackets, hanging clothes in closets, an olive-capped sandwich and a bending parrot tulip in a crystal vase, its still-flamboyant petals beginning to loosen from their moorings for an inevitable descent to the surface below. Yet, for the intimate specificity of these works, they can be viscerally evocative.Viewers who pause might recollect the feel of a supple leather glove’s soft interior, the scent of an old book or the cool, enveloping mist of roaring falls viewed from a floor of rocks worn smooth by millennia of scouring waters. Goldyne has an intellectual curiosity and poetic nature that are reflected in his depictions of books, either single copies, casual stacks or groupings lined up on library shelves. He has also worked with a number of authors and poets to produce limited-edition and unique artists’ books melding text with images.

Joseph Goldyne ( End of a Book of Poems Dorothy Parker), 1996

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Joseph Goldyne Sweater Closet, 1980 Joseph Goldyne Parka and Ticket, 1996 BELOW

Joseph Goldyne All Thoughts, All Passions, All Delights, 1998 LEF T/RIGHT

Joseph Goldyne ( Crystal, Water and Tulips Hide and Seek), 1985–94 Joseph Goldyne Min’s Mysterious Sandwich, 1975/2003

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Joseph Goldyne with Calligraphy by Thomas Ingmire Flowers, 1987 OPPOSITE, LEF T/RIGHT

Joseph Goldyne Cloths of Heaven, 2018 Joseph Goldyne Plunge, 2010 Joseph Goldyne Imaginary Waterfall IX, 2009

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He sometimes depicts letters or words as forms. Collaborating with calligrapher Thomas Ingmire, he has celebrated Arthur Rimbaud’s description of a garden as a jewel box overflowing with luxuriant color. Other images, such as Goldyne’s waterfall drawing, Cloths of Heaven, reflect so perfectly W. B. Yeats’ poem of the same name that words would be superfluous: Had I the heavens’ embroidered cloths, Enwrought with golden and silver light, The blue and the dim and the dark cloths, Of night and light and the half-light, I would spread the cloths under your feet.

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For at least 14 years, Goldyne has explored the concept of water coursing over steep drops, almost always narrowing his images to focus on the endless variants of the falls themselves. These falls are entirely imaginary. Their geographic sources and destinations remain mysteries. He has depicted falls from countless vantage points—plunging unimpeded, cascading over boulders, falling in small rivulets or gushing in such great torrents that only clouds of mist are visible. Sometimes he delves into the appearance of water as it impacts stones, gravel or pools of water.

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Ohara Donshu (1792–1857 ) Waterfall and Rocks, c.1850 Joseph Goldyne Falls Sketchbook II, Drawing No. 19, 2014 Joseph Goldyne Falls Sketchbook II, Drawing No.10, 2014 Joseph Goldyne Falls Sketchbook II, Drawing No. 25, 2014 BELOW, LEF T/RIGHT

Joseph Goldyne Falls Sketchbook II, Drawing No. 11, 2014

The artist is intensely interested in the history of art, so one might assume his interest in water and waterfalls was inspired by Albert Bierstadt’s sumptuous mountain landscapes or Leonardo da Vinci’s studies of waterflow. To some degree they were, but the images Goldyne has particularly admired and occasionally collected are Japanese scroll paintings by artists of the 18th- and 19th-century Shijo School. These artists, who adapted Western and Chinese ideas, also shunned tradition by giving more attention to naturalism than symbolism. Yet these distinctly Japanese waterfall images are depicted with hardly a stroke or a wash of paint.

Joseph Goldyne Falls Sketchbook I, Drawing No. 51, 2013–14 Joseph Goldyne Falls Sketchbook I, Drawing No. 55, 2013–14 LEF T/RIGHT

Shibata Zeshin (1807–1891) Waterfall, c.1880 Joseph Goldyne Falls Sketchbook I, Drawing No. 49, 2013–14 Albert Bierstadt (1830–1902) Half Dome from Glacier Point, Yosemite, c.1873

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Joseph Goldyne The Mountains of California, 1989 Joseph Goldyne Supported by Reference, 1998 Joseph Goldyne Drawing No. 7, Cricket Club Jacket of Clem Gibson, c.1920, June 15, 1998, bound in the unique artists’ book, Gold Records, 2015

In some respects, Goldyne’s waterfalls correspond to his depictions of jackets and shirts. Like the clothing—which has both a visible, public side and an obscured, private side—water and haze veil sand, soil and gravel, the unseen substances that erode the land. In some images, the ceaseless torrents seem to have cleaved the earth into two separate halves. Goldyne freezes moments, real or imagined, within time’s continuum, each droplet, each particle binding with others to do its part. Goldyne’s decision to become an artist was fraught with uncertainty. Fully prepared to follow his father into the practice of medicine, the young man switched his major to art history just before entering the University of California, Berkeley. After receiving a bachelor of arts degree in art history, he entered the University of California, San Francisco, where, in 1968, he earned an M.D. Still

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longing to practice art, he enrolled at Harvard University for a master’s degree in the history of art. Each discipline has served him well. He began drawing as a child and the process has continued to be a driving force throughout his career. While he is the consummate draftsman of objects close at hand, he has also created hundreds of five-by-seven-inch studies of imaginary waterfalls, none of which has been used for a large-scale painting. Goldyne’s success as a printmaker is in no small part a result of that finely-honed ability to draw. His favorite media are aquatint, etching, drypoint and other forms of intaglio, as well as monotype. He is patient and willing to take step after exacting step to prepare plates without knowing the outcome. When the result is consistent with his intent, he usually stops, without printing an edition. There are several such monotypes in this exhibition.

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Joseph Goldyne Drawing No.10, Dad’s Guadagnini, Nov 16, 2002, bound in the unique artists’ book, Gold Records, 2015 Joseph Goldyne Sanctus Seraphin of 1732, 1996

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The Clarinda Carnegie Art Museum is proud to present the exhibition, Joseph Goldyne: Ephemeral Memories. Deepest appreciation is due to the artist and his family for gifts to the Clarinda Carnegie Art Museum Collection. Family donors include Naomi Sloane, Adam and Claudia Goldyne, Alfred S. Goldyne, and the artist and his wife, Debbie Goldyne.The museum extends its thanks to Anne Kohs & Associates, who helped with loans and acquisitions, as well as administering publication of the catalogue. Finally, as always, we thank Karen and Robert Duncan, who have shared their collection, time and resources to make this exhibition and the museum a shining light of Southwest Iowa. Anne Pagel, Curator Karen and Robert Duncan Collection Clarinda Carnegie Art Museum

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Joseph Goldyne Salad Oil, 1987 Joseph Goldyne Salad Oil (After Impression), 1987 LEF T/RIGHT

Joseph Goldyne The Realm of Night Vision, c.1978 Joseph Goldyne The Realm of Night Vision (Proof I), c.1978 Joseph Goldyne ( The Realm of Night Vision Proof II), c.1978

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JOSEPH GOLDYNE WATERFALLS IMAGINED JOSEPH GOLDYNE’S PROFESSIONAL C AREER stretches back over four

decades, and in that time he has created and exhibited an astounding variety of work. Historically, his practice has centered on a variety of printmaking techniques, art historical references, and an aesthetic that often triumphs by creating delightful surprises. The array of subject matter, media, and processes he’s used would leave even a dervish dizzy. Goldyne pursued his interest in the pictorially worthy and the beautiful as agents for the expression of certain ideas such as the primacy of the visual as opposed to the textual in visual art. As such, the iconic work he created prior to 2005, when he began to focus on images of waterfalls, might well be work from his earliest exhibitions in San Francisco and London, when Goldyne presented monoprints of previously unknown delicacy and resolution. Two of the monoprints, The Folded Message with Goya’s Ghost Over Martin Johnson Heade’s Harbor, 1975, and Jolie: P.P. and B.L.T. (Version 3), 1974, are very good examples of Goldyne’s contemporary ideas and imagery juxtaposed with imagery from the canon of art history. Joseph Goldyne Nocturne, 2011

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1 Joseph Goldyne The Folded Message with Goya’s Ghost Over Martin Johnson Heade’s Harbor, 1975 2 Joseph Goldyne Jolie: P.P. and B.L.T. ( Version 3), 1974

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Fourteen years ago, Goldyne began a series of drawings, etchings, monoprints, and paintings of waterfalls, some of which are included in the current exhibition at Clarinda Carnegie Art Museum. In the intervening years, Goldyne has maintained his fascination with the visual complexities of water, simultaneously reflecting and absorbing light, seemingly both fluid and viscous. He also was moved to create imaginary waterfalls in landscapes that reference art historical precedents and at the same time express a contemporary aesthetic. For Goldyne, this persistent fascination with a singular subject is a notable anomaly. His curiosity has been expansive, and his interest and intuition have often led him down solitary pathways. However, there is something about the visual behavior of waterfalls in varieties of landscape, and the melding of historical references with contemporary ideas, that holds his attention with an unusually firm grip.

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3 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No.10, 2018 4 Joseph Goldyne Imaginary Waterfall Monoprint No. 4, 2015 5 Joseph Goldyne Imaginary Waterfall Monoprint No. 3, 2015 6 Joseph Goldyne Petticoat Falls, 2016

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I first saw Joseph Goldyne’s paintings of waterfalls when I visited his California studio in late October 2011. I was immediately—even viscerally— affected. His compositions seemed so simple and direct: basically three vertical stripes in black, white, and black, topped by a horizontal band made with a heavier wash of ink, or delicate blushes of color that define a horizon. The flow of ink augmented by oil-based pigments directed by Goldyne’s brush creates an impression of flowing water, with the hint of landscape at the brink. Goldyne deftly uses subtle tonal variations of inks and color to create nuanced, sometimes Romantic, landscapes that recall an earlier, idealized Arcadia. Although each artist’s approach is unique, as a scholar of art, Goldyne’s paintings and drawings of waterfalls converse unselfconsciously with a long history of works by other artists. Goldyne grew up in an environment where an appreciation of the arts was an integral part of family life. He drew remarkably well as a young child, but like an accomplished adult by his mid-teens. From this background, we can assume an intimate knowledge of art within the context of art history, and Goldyne has knowingly placed his waterfalls within a lineage—one that counts among its kin Japanese scroll painting of the Kyoto School, 19th-century Romantics like Caspar David Friedrich, J.M.W. Turner, and Frederic Church, and mid-20th-century abstract painters like Helen Frankenthaler and Barnett Newman. The impetus for Goldyne’s initial explorations of water and waterfalls was his attention to the variety of techniques used by other artists—Asian, European, and American—to render and interpret water passing through a landscape. In his ‘hands-on’ experiments with this history, he noticed, for example, that warm yellows and greens scumbled over black made for a compelling passage of vegetation, and that glazes and washes could provide subtle mists and fogs. These techniques promised a seemingly magical transformation of skill and chance into convincing illusions that might nourish and project a personal vision. We can trace the kind of European Romanticism that holds Goldyne’s interest to artworks from the beginning of the 19th century and, specifically, to artists like Joseph Mallord William Turner (1775–1851) and Caspar David Friedrich (1774–1840). The painting of atmosphere and atmospheric phenomena are relatively rare in western European art before the 19th century.

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Leonardo da Vinci (1452–1519), of course, pioneered such work beginning in the late 15th century. But it took the technical genius of Turner and the allegorical orientation of Friedrich to birth a new kind of painting, one that sought atmospheric verisimilitude as a means of messaging mood and purpose. Two finer painters of mists—and of waters disappearing into mist—would be hard to find, and especially so within their place and time. Turner’s watercolor The Great Fall of the Reichenbach, in the Valley of Hasle, Switzerland (1804), seems a relevant comparison here—and especially the top half. Goldyne also cites Friedrich’s Wanderer Above the Sea of Fog (1818) as a particularly influential painting, with its overt drama. Both paintings are masterpieces of the sort that ended up either inspiring or anticipating American artists of the next generation. Although Joseph Goldyne may find much to admire in the ethereal atmospherics of artists closer to home such as the great American painters, Frederic Edwin Church (1826–1900) or Albert Bierstadt (1830–1902), it has not been

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7 Joseph Goldyne First Fall, 2005 LEF T/RIGHT

8 Joseph Mallord William Turner (1775–1851) The Great Fall of the Reichenbach, in the Valley of Hasle, Switzerland, 1804 Collection The Higgins Art Gallery & Museum, Bedford, UK Image courtesy of Bridgeman Images 9 Caspar David Friedrich (1774–1840) Wanderer Above the Sea of Fog, 1818 Collection Kunsthalle, Hamburg, Germany 10 Costantine P. Cavafy (1863–1933) and Joseph Goldyne The Wise Sense Imminent Events, Monotype No. 2 (detail), bound in the unique artists’ book A Few Waterfalls, 2010

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11 Frederic Edwin Church (1826–1900) Niagara, 1857 Collection National Gallery of Art, Corcoran Collection, (Corcoran Museum purchase 1876, Gallery Fund) 2014.79.10 12 Joseph Goldyne Imaginary Waterfall XXVII, 2013 Collection Clarinda Carnegie Art Museum 13 Joseph Goldyne Imaginary Waterfall XII, 2010 Collection Clarinda Carnegie Art Museum OPPOSITE

14 Joseph Goldyne Tivoli Capriccio Falls, 2018 Collection Clarinda Carnegie Art Museum

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the drama and sheer ambition of their huge studio creations that has inspired Goldyne’s adventures in his paintings of imaginary waterfalls. Rather it is the painted studies by which these artists and their Hudson River School heirs came to create their grand and large canvases. These small works on paper, canvas, or panel captured the scenes which appealed to their respective compositional tastes. They also acted as a color memory for the artists in their studios. Oil sketches were most often painted on site (en plein-air) with the spontaneity necessitated by changing light and weather. One could truthfully say that these little tributes to impressive talent were often the beating heart of the ambitious larger images celebrated in the history of American art, the spirited building blocks of final pictorial statements. In our day and in fundamental contrast to his American forebears, Goldyne’s initial painted statement, no matter its size, is both study and final declaration. He also creates smaller imaginary waterfall sketches, though these are not studies made for the larger works to emulate in whole or in part. Rather, they are like calisthenics before a race. Typically more representational than his sixfoot or 36-inch canvases, the smaller exercises—seven- by five-inch India ink and oil-based pigments on gessoed paper as well as smaller canvases of varying sizes—explore compositional possibilities as well as textural and surface possibilities. To understand his approach, one must appreciate that Goldyne undertakes these explorations not with specific intent, but more as a relaxed inquiry into what the hand and brush can do as they reveal the cliffs, vistas and torrents generated by the mind. More specifically, his passion for the oil sketches of artists like Church and Bierstadt is the result of Goldyne’s own appreciation for the particularity of their marks—the uniquely characteristic way in which the artist’s paint-loaded brush touched his or her canvas or panel or sheet of prepared paper. Because they painted quickly, intuitively, and a la prima (in one stroke) in making their small sketches, we get an intimate view of what are arguably their most native and best-honed gifts. We see how they chose to portray what mattered to them, and how impressively their gifted hands responded to those choices. This is the kind of aesthetic goal that Goldyne seeks in his imaginary landscapes, and it is one often found in the crucial passages that exist at the top of his waterfalls.

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15 Joseph Goldyne Imaginary Waterfalls, Box XIV, Drawing No. 8, 2010 OPPOSITE, LEFT/RIGHT

16 Joseph Goldyne Waterfall II, 2010 17 Joseph Goldyne Storm Fall, 2010 18 Edward Steichen (1879–1973) The Pond, Moonrise – Mamaroneck, New York, 1904 Collection Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933 (33.43.40) Courtesy Artists Rights Society (ARS), New York

Because of the way he works, and the media which he uses, Goldyne has described his paintings as “...simply large drawings executed on canvas or large sheets of gessoed paper with India ink and oil-based pigments....”1 Frederic Church used pigment in a more viscous painterly manner. His small plein-air oil sketches were color studies, examining the ways colors might interact in a final landscape composition. They also showed a particular sensitivity to the sharpening effect of light-struck edges and surfaces from blocks of stone to massing clouds. Bierstadt as well as Church often made many landscape studies to record the key features of a site, and so that he might better recall the memory of feeling for a place and a time. By gathering these ‘building blocks’ of direct experience and historical relevance, the artists, in the shelter of their studios, might have what they needed for reference when composing their large canvases The 19th-century painterly studies that inspire Goldyne also lead towards a particular strain of modernist abstraction—one that he has spent a long time exploring as someone who both makes and absorbs paintings—that could be described as the Tonalist root, an aesthetic that begins, perhaps, with Turner, with his attention to atmospheric effects, that constituted a paradigmatic contribution to the history of art. Tonalism grows more painterly—brushier, if you will, with the contributions of French Barbizon (pre-Impressionist) artists like Charles François Daubigny (1817–1878), and the uniquely American landscapist George Innes (1825–1894) whose vaporous and muted transcriptions of the countryside made particularly his later work attractive to a generation of viewers prepared to interpret the hills and fields of their native land poetically. These influences are combined with ideas from the Japanese artistic tradition in the nocturne paintings of James Abbott McNeill Whistler (1834–1903), and the movement is stitched up and made modern in the Pictorialist photographs of Edward Steichen (1879–1973). As with French Impressionism, Tonalism dematerializes the world, but through value instead of color, and from dematerialization to abstraction proved to be a relatively short trip.

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19 George Inness (1825–1894) Smoke Rising at Dusk (Italian lake scene), c.1875

1. Conversation with the artist, January 2019

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Japanese ink wash (sumi-e) painting of Kyoto’s Shijo school, and by historical influence even older Chinese landscape painting, constitute a significant part of the heritage of Goldyne’s waterfalls. In fact, Goldyne and his wife, Debbie, became so enchanted with the Japanese waterfall scrolls that they collected them when they could. In contrast to its Chinese ancestors that incorporated the waterfall into the traditional elements of a vast and rich landscape, the falls of the Shijo school become, in essence, the landscape itself. How perfect that a vertical feature in nature was presented vertically by filling the length of a vertical scroll. Goldyne’s perception of the relevance of this sensible compositional focus was that it was applicable with adjustment to the structure and expectations of Western painting. Indeed, it could make sense within a Western lineage that ends in Modernist abstraction; and yet, Goldyne has largely limited himself to borrowing just the highly successful columnar format of the Japanese presentation of falls as well as the fundamental and tell-tale application of black ink. Otherwise, these stunning works serve only to reinforce how very Western Goldyne’s approach really is.

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20 Joseph Goldyne Imaginary Waterfall II, 2008 21 Joseph Goldyne Going Down Singing, Etching No. 3, 2015 22 Joseph Goldyne Going Down Singing, Etching No. 2, 2015 23 Joseph Goldyne Going Down Singing, Etching No. 8, 2015 24 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 14, 2018 LEFT/RIGHT 25 Joseph Goldyne Imaginary Waterfalls, Box X, Drawing No. 4, 2015 26 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 2, 2018

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27 Joseph Goldyne Drawing No. 12, Falls Sketchbook II, 2014

In the range of Japanese waterfalls seen in this exhibition, the figure/ground relationship is left intentionally ambiguous. There is so much “figure”—to wit, falling water—and so little “ground”—to wit, surrounding land—that it takes the eye a moment to find purchase.There is also the matter of the asymmetric composition, which is as crucial to the work of Maruyama Okyo (1733– 1795) and many of his followers as basic axial symmetry is to so many of Goldyne’s waterfalls. Works by Ohara Donshu (1792–1857 ) and the collaborative scroll by Kishi Renzan (1805–1859) and Maekawa Bunrei (1837–1917 ) favor more water than land, as in certain of Goldyne’s studies. On the other hand the beautifully minimal work by the little-known Azuma Toyo (1755–1839) as well as the more complex presentations by later painters, such as a view of a partly frozen fall by the European-art-savvy Watanabe Seitei (1852–1918) and the rock-embraced fall by Japan’s most famous lacquer master, Shibata Zeshin (1808–1891) reveal the potential for painterly marks to accent and contour both land and water.

28 Joseph Goldyne Falls Sketchbook I, Rough Terrain Falls, Drawing No. 24, 2013–14 BELOW

29 Joseph Goldyne Falls Sketchbook II, Drawing No. 2, 2014 LEF T/RIGHT

30 Maruyama Okyo (1733–1795) Waterfall, c.1790 31 Ohara Donshu (1792–1857 ) Waterfall, c.1850 32 Kishi Renzan (1805–1859) and Maekawa Bunrei (1837–1917 ) Waterfall with Dangling Vines, c.1855 33 Azuma Toyo (1755–1839) Waterfall, c.1800 34 Watanabe Seitei (1852–1918) Frozen Waterfall, c.1895

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What these Japanese sumi-e waterfalls exhibit in abundance is touch. The ink can be translucent in part because its application is so deft. In application of pigment and in overall style, it must be remembered that the pure ink scrolls of the Japanese masters are quite different than their large colored screens and decorative architectual decoration. Unless one knows the styles that characterize their work in each medium, there would be little chance of identifying an artist’s sumi-e painting, unless via signature, by virtue of his more painterly style. Similarly, Goldyne’s monotype style of the 1970s–1990s would not prepare one for his painterly style of the last decade and a half. Translucency as a means to an end also reached a spiritual place in Helen Frankenthaler’s (1928–2011) Mountains and Sea, 1952—a painting that employs the “soak-stain” approach to Abstract Expressionism. Like Goldyne, Frankenthaler explored continuously, and though rooted in the American reverence for landscape, her later work would evolve from the compositional cacophony of earlier work to more organized compositions, even occasionally orienting toward the vertical, as in her 1966 painting Wales. The very words “soak-stain” are telling enough in the context of Goldyne’s waterfalls on exhibit here (even though he works on a gessoed ground rather

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than on raw, highly-absorbent canvas). Though so very different in aim and finish, Goldyne does share this celebration of paint’s fluidity and translucency with Frakenthaler, as well as a certain daring in how each artist applies the chosen medium. Frankenthaler moved against the highly viscous applications of the earlier Abstract Expressionists, simultaneously lightening the mood and obliterating the primacy of the gestural mark. Goldyne’s work brings back the mark, but his oil washes and India ink blooms maintain the translucency and heightened sense of fluidity. One of Goldyne’s most often-cited references related to his waterfalls is Barnett Newman (1905–1970), a seminal figure of color field painting and Minimalism. In 1948, Barnett Newman created Onement I, which he later called his first “zip” painting. If Abstract Expressionism was supposed to be as drenched in feeling as its “expressionist” nomenclature indicated, its translation to the public was highly intellectual. Uber-critic Clement Greenberg argued that paintings needed to do away altogether with the illusion of space and embrace flatness as an essential fact of painting on canvas. He also argued the idea that paintings should be able to exist on their own terms, separate from any consideration of “content.” The commentary on Onement I is laced with such stuff,

OPPOSITE, LEF T/RIGHT

35 Shibata Zeshin (1808–1891) Waterfall, c.1885 36 Joseph Goldyne Going Down Singing, Etching No. 7, 2015 37 Joseph Goldyne Imaginary Waterfalls, Box XIV, Drawing No. 8, 2018 38 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 15, 2018 LEF T/RIGHT

39 Helen Frankenthaler (1928–2011) Wales, 1966 Collection National Gallery of Art, Washington, D.C. 40 Barnett Newman (1905–1970) Onement, I [First Zip Painting], 1948 Collection Museum of Modern Art, New York 41 Wang Wei (c.701–761) and Joseph Goldyne A White Turtle Under a Waterfall, Monotype No. 3, bound in the unique artists’ book A Few Waterfalls, 2010

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but the artist himself named his paintings “zips” in an obtuse reference to atonement—to the reconciliation of the human with the divine. In conversation, Goldyne spoke about Newman’s work in terms of his admiration for the metaphor, not for the painterly result. The formal similarities between “zips” and Goldyne’s waterfalls—particularly Waterfall XVIII and Waterfall XXII—might be obvious, but they are less telling than one would think. Like Newman, Goldyne is after a polyaxial reconciliation—of the human with the transcendent, of the past with the present, of formal concerns with deeply poetic ideals. However, Goldyne is deeply committed to the visual in visual art. He feels strongly that, in our era, conceptual concerns—ideas that must be explained textually—have often overwhelmed the purely visual poetics of which painting is still capable. He states that “asking the viewer to judge only by assessing innovation and ideas is asking for the abandonment of the seeing and feeling eye. It is asking for

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what is a valid approach to the sciences, but not the arts.” He further maintains that “it is artistry, not art history that must lead.”2 If this genealogy of graphic and philosophical ideas feels too big a stretch, it may be helpful to ground the discussion back in the artist’s more typical practice—specifically his printmaking work from the early 1970s through the first decade of the present century.This work began in earnest with The Passing of the Age of Cubism, a Strawberry Presiding of 1973. It was a meditation, if you will on Cubism, landscape art (the passage was taken from a painting by Thomas Cole) and the pictorial possibilities of unexpected relationships. Another monoprint of almost 50 years ago, Lemon Tumbling Down a Georgia O’Keeffe Hill— Cézanne’s Pear Watching (1972) proves instructive here, for ostensibly we have 2. Conversation with the artist, January 2019

OPPOSITE, LEFT/RIGHT

42 Joseph Goldyne Imaginary Waterfall XVIII, 2012 Collection Clarinda Carnegie Art Museum 43 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 29, 2018 Collection Clarinda Carnegie Art Museum 44 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 16, 2018 Collection Clarinda Carnegie Art Museum 45 Joseph Goldyne The Passing of the Age of Cubism, a Strawberry Presiding, 1973

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Goldyne’s first waterfall image, created at the dawn of his professional career. In actuality, we see an image that pays homage to a series of paintings by Georgia O’Keeffe, created in 1939 at the behest of the N.W. Ayer advertising agency for the Dole Company. In Lemon Tumbling… he makes an image that juxtaposes the sensuousness of certain modernist fruit still lifes—especially those of Cézanne (1839–1906)—with O’Keeffe’s soft and enveloping hills. Some might latch on to the title to interpret the work as absurdist or surreal, while others might read a subtle and poetic critique of Formalism.To gain more accurate insight though, we note that Goldyne’s titles of the time called out exactly what was depicted, intentionally adding simultaneously a blandly instructive yet comic stroke to the consideration of the work. In addition to forging a beautiful image in a medium unfamiliar to most of his audience, he was pointing to the fact that the history of art could be silly or foolish in its orientation or fads, but that the works with which it was dealing were anything but. Goldyne’s

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title and image together, both playful and poetic, offer his conjoined critique. Nevertheless, from a contemporary art-historical point of view, it has to be said that there is something that makes sense about introducing seductive fruit imagery into an image that was originally commissioned by a food corporation. Adding even more irony, this same corporation commissioned a woman to create a seductive image of a landscape that implied fruit—a landscape, incidentally, that the corporation was changing in order to supply that fruit. Echoes of Eve? Environmental diatribe? Perhaps. Did Goldyne intend such an interpretation? Absolutely not! That would be our contemporary take. At the time, he was dedicated to the painterly possibilities of monotype, but more committed to showing by example that the medium was much more versatile than revealed by the finger-painting manner in which it was most typically employed. He chose to pay homage to O’Keeffe’s waterfall subject, though, because of his high regard for the artist and the lifelong appeal of the waterfall as an aspirational

OPPOSITE, LEF T/RIGHT

46 Joseph Goldyne Imaginary Waterfall XXII, 2013 47 Joseph Goldyne Lemon Tumbling Down a Georgia O’Keeffe Hill – Cezanne’s Pear Watching, 1972 48 Georgia O’Keeffe (1887–1986) Waterfall No. III, Iao Valley, 1939 Collection Honolulu Museum of Art, HI, Gift of Susan Crawford Tracy, 1996 (8562.1) LEF T/RIGHT

49 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 18, 2018 50 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 22, 2018

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LEFT/RIGHT

51 Pablo Neruda (1904–1973) and Joseph Goldyne Oda a la Tipografía (Ode to Typography), 1999 52 Selection of Joseph Goldyne’s books and portfolios, 2001

vertical in nature: tall and narrow like a great tree, or a building in the landscape, though not rising—rather moving, falling. In addition to the large number of monoprints and monotypes that he created, Goldyne’s considerable output of artists’ books and portfolios has provided an opportunity for him to further comment visually on matters regarding which he has engaged for years. His books with original etchings include Diary of a Young Girl: Het Achterhuis, Pablo Neruda’s (1904–1973) Ode to Typography, Ten Firsts in the History of Printmaking and the latest effort with original etching-aquatints, Going Down Singing, a collaboration with the esteemed American/Canadian poet and scholar, Robert Bringhurst. Bringhurst’s splendid poem Going Down Singing was written as an inspired reflection on the artist’s ten burnished aquatints of waterfalls. The edition of 89 copies was published in 2017 by Two Ponds Press of Camden, Maine.

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LEFT/RIGHT

53 Anne Frank (1929–1945) and Joseph Goldyne Diary of a Young Girl: Het Achterhuis, 1985 54 Robert Bringhurst (b. 1946) and Joseph Goldyne Going Down Singing, 2015

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Like a poet, Goldyne has consistently summoned a constellation of images and ideas that felt consonant and united them through form and color. Not that the vertical composition, nor the dramatic lighting, of these new waterfalls is incidental; neither are these works bound up entirely in art-historical reference: no, those things are innate. An artist acquaintance, Dan Connally, once explained to me, “People think that style is something you put on and take off like a hat. It’s not. It’s really the things you don’t change—the commonalities that run through years of your work that make up your style.” Identifying these preferences in Goldyne’s work is easy, in traits he has shown all along.

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So, what are we to make of these waterfalls? Is this a postmodernist’s pastiche? Are these tangential to Goldyne’s main body of work? I think not. Joseph Goldyne has always operated, on some level, as a syncretic visual artist. He has explored the world of art across time and culture for most of his life, pursuing formal similarities and techniques to such an extent that historical sequence collapses. While he has often composed works in that vein, the waterfalls seem more integrated: their seams are harder to see. These works also feel deeply spiritual to me. Whether it is the American devotion to the landscape, or Zen ideas of waterfalls as both ever-changing and yet constant, one feels something transcendent in Goldyne’s waterfalls. The 72-inch tall works—like Waterfall I, 2008; Waterfall II, 2008, and Hiroshige Falls, 2017—also invoke the sublime. To contemplate the apparent scale of the fall is to stand humbled before a power greater than ourselves. Finally, the narrative nature of a painting that so evidently begins at the top and drops to the bottom invites comparisons to the idea of destiny.The water takes its course, and so do we. In these joyously painterly finales, the explosion of water and mist suggests that the energy and matter bound up in our mortal lives dissipates, but doesn’t disappear. No, history marches on. Beauty remains. Poetry makes these things imminent, and Joseph Goldyne holds these as sacred.The waterfall paintings are thus as close to a declaration of his abiding philosophy as any other image he has explored in his long artistic output. Jeremy Tessmer Independent Curator, Nineteenth and Twentieth Century American Art OPPOSITE, LEF T/RIGHT

55 Joseph Goldyne Hiroshige Falls, 2017 Collection Crocker Art Museum, Sacramento, CA 56 Joseph Goldyne Steps to Cubism, Version 2, 1978 57 Joseph Goldyne Imaginary Waterfalls, Box XXI, Drawing No. 8, 2014

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JOSEPH GOLDYNE BIOGRAPHY BIBLIOGRAPHY SELECTED PUBLIC & PRIVATE COLLECTIONS

Joseph Goldyne’s etchings, Robert Townsend’s Printing Studio, R. E. Townsend, Inc., Georgetown, MA, 2015 Charlie Townsend, Photographer

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BIOGRAPHY BORN 1942

Chicago, Illinois

EDUCATION 1960–64 University of California, Berkeley, CA. A.B., Art History, 1964 1964–68 University of California, San Francisco, CA. M.D., 1968 1968–71 Harvard University, Cambridge, MA. M.A., Fine Arts, 1971

TEACHING 1973–75 University of California, Berkeley, CA

SOLO EXHIBITIONS 1973

Quay Gallery, San Francisco, CA, February–March. Catalogue E. B. Crocker Art Gallery, Sacramento, CA, Joseph Goldyne Monoprints, April–May

1974

Quay Gallery, San Francisco, CA, September–October. Catalogue

1975

U. S. Information Agency Bicentennial Exhibition, Washington, D.C. Traveled through Europe, 1975–76 Joseph Goldyne Studio Sonoma, CA, 2019

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ABOVE, LEF T/RIGHT

Poster for Exhibition, Joseph Goldyne: Books, Prints & Proofs, Stanford University Libraries, Stanford, CA, (September 14, 2015– March 15, 2016) Poster for 1977 Group Exhibition, Monotypes from Stanford, T. W. Stanford Art Gallery, Stanford University, Stanford, CA (Summer–Fall) Center for Book & Paper Arts installation of group exhibition , Form and Expression: The Written Word, Columbia College, Chicago IL (September 18–December 7, 2013) CENTER

Quay Gallery Installation of Exhibition, Joseph Goldyne, San Francisco, CA (September–October, 1973) BELOW, LEF T/RIGHT

Poster for Exhibition, Joseph Goldyne/Fall Light, Sullivan Goss Gallery, Santa Barbara, CA (September 7–October 29, 2017 ) Center for Book & Paper Arts installation of group exhibition, Form and Expression: The Written Word, Columbia College, Chicago IL (September 18–December 7, 2013)

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Newport Harbor Art Museum, Newport Beach, CA, Joseph Goldyne: Color Monoprints, December 3, 1975–January 11, 1976 1976

Braunstein/Quay Gallery, San Francisco, CA, September– October Thomas Gibson Fine Arts Ltd., London, England, Joseph Goldyne: An Exhibition of Monotypes and Monoprints, October 14– November 11. Catalogue

Associated American Artists Gallery, New York, NY, Joseph Goldyne, Prints from Anne Frank, March 3–28 1989

Roger Ramsay Gallery, Chicago, IL, Joseph Goldyne: New Work, April 21–May 16 Thomas Gibson Fine Art Ltd., London, England, Joseph Goldyne: Recent Works, October 31–December 1. Catalogue

1990

1978

James Corcoran Gallery, Los Angeles, CA, April 15–May 11

John Berggruen Gallery, San Francisco, CA, Joseph Goldyne: Paintings and Drawings, April 25–May 26

1979

John Berggruen Gallery, San Francisco, CA, October

Anne Reed Gallery, Ketchum, ID, Joseph Goldyne, August 1–31

1980

Impressions Gallery, Boston, MA, January

Christopher Grimes Gallery, Carmel, CA, Joseph Goldyne: A Survey of Editioned Works, October 2–November 24

James Corcoran Gallery, Los Angeles, CA, Goldyne: Monotypes and Drawings, December 6, 1980–January 10, 1981 1981

1982

Gump’s Gallery, San Francisco, CA, Joseph Goldyne: Edition Prints, November 2–December 30

Smith Andersen Gallery, Palo Alto, CA, Joseph Goldyne: Ten Years of Prints and Drawings, June

1991

John Berggruen Gallery, San Francisco, CA, Joseph Goldyne: Recent Work, October 21–November 14. Catalogue

Gerald Peters Gallery, Santa Fe, NM, Joseph Goldyne: New Work, August 30–September 13

1992

The Israel Museum, Jerusalem, Israel, Joseph Goldyne: Illustrations to Anne Frank’s “Diary of a Young Girl,” May 5–June 4

1993

Richard York Gallery, New York, NY, Joseph Goldyne, February 12–March 13. Brochure

1994

Smith Andersen Gallery, Palo Alto, CA, Joseph Goldyne: Unique Impressions, Principally Closets, February 18–March

1997

Elvehjem Museum of Art, University of Wisconsin, Madison, WI, Joseph Goldyne/Monotypes, March 22–May 4

1998

Thomas Gibson Fine Art Ltd., London, England, Joseph Goldyne: Recent Work, June 9–July 10. Catalogue

1999

John Berggruen Gallery, San Francisco, CA, Joseph Goldyne— Sandwiches and Seascapes: Small Oil Paintings, October 28– December 4

2000

Fresno Art Museum, Fresno, CA, Joseph Goldyne: The Artists’ Book, September 11–November 25

2001

Corcoran Gallery of Art, Washington, D.C., The Pull of the Eye, the Play of the Hand: Joseph Goldyne, Selected Drawings and Prints, October 6–December 17. Catalogue

2005

Addison Fine Arts, San Francisco CA, Joseph Goldyne: Recent Paintings, June

National Museum of American Art, Smithsonian Institution, Washington, D.C., Familiar but Unique: The Monoprints of Joseph Goldyne, September 24–December 5. Traveled to: The Fine Arts Center at Cheekwood, Nashville, TN, January 6–February 20, 1983; Madison Art Center, Madison, WI, March–April 1983; Honolulu Academy of Arts, Honolulu, HI, July–August 1983; San Francisco Museum of Modern Art, San Francisco, CA, September–October 1983. Catalogue Klein Gallery, Chicago, IL, September

1983

John Berggruen Gallery, San Francisco, CA, September

1986

The Jewish Community Museum, San Francisco, CA, Anne Frank/ Diary of a Young Girl: The Making of a Book, January–March

1987

New York Academy of Sciences, New York, NY, Quartet, February 12–March 27. Organized by NOVO Presents. Traveled to: Chicago Academy of Sciences, Chicago, IL, April 22–August 23; National Academy of Sciences, Washington, D.C., September 17–November 6; California Museum of Science and Industry, Los Angeles, CA, November 20, 1987–February 15, 1988; The Exploratorium, San Francisco, CA, March 1–April 18, 1988. Catalogue

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2012

Sullivan Goss Gallery, Santa Barbara, CA. Joseph Goldyne/ Waterfalls, April 5–July 1. Catalogue

2017

Sullivan Goss Gallery, Santa Barbara, CA, Joseph Goldyne/Fall Light, September 7–October 29. Catalogue

2015

Stanford University Libraries, Stanford, CA, Joseph Goldyne: Books, Prints & Proofs, September 14, 2015–March 15, 2016. Catalogue

2019

Clarinda Carnegie Art Museum, Clarinda, IA, Joseph Goldyne: Ephemeral Memories, June 2–December 3. Catalogue

TWO-ARTIST EXHIBITIONS 1989

Schmidt-Bingham Gallery, New York, NY, Artists’ Artists: Artists’ Portraits by Joseph Goldyne and Joyce Treiman, June 21–July 21

1991

Associated American Artists, New York, NY, Joseph Goldyne/ Miklos Pogany: Recent Works, October 9–November 2. Catalogue

1992

Young Gallery, Los Gatos, CA, Carol Summers/Joseph Goldyne: Approaches to the Original Print, January 2–February 8

2013

Sonoma Valley Museum of Art, Sonoma, CA, Delicious Images: Paintings and Works on Paper by Wayne Thiebaud and Joseph Goldyne, September 7–December 1. Catalogue

SELECTED GROUP EXHIBITIONS 1966

Gump’s Gallery, San Francisco, CA, December

1967

Woodside Gallery, San Francisco, CA

1973

Stowe Gallery, Davidson College, Davidson, NC, Davidson National Print and Drawing Competition. Catalogue

1974

Van Stratten Gallery, Chicago, IL, California in Print Main Art Gallery, California State University, Sacramento, CA, National Print Invitational Exhibition, Prints of the Seventies, January

1975

National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., Twenty-Fourth National Exhibition of Prints. Organized by the Library of Congress. Catalogue

1977

T. W. Stanford Art Gallery, Stanford University, Stanford, CA, Monotypes from Stanford, Summer–Fall Impressions Gallery, Boston, MA, West Coast Prints

1978

San Francisco Museum of Modern Art, San Francisco, CA, Six Printmakers, July–September. Catalogue Stephen Wirtz Gallery, San Francisco, CA, Bay Area “12”: Monotypes, September–October

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Cooper-Hewitt Museum, New York, NY, Artists’ Postcards II, October–November. Traveled. Catalogue

1987

The Phillips Collection, Washington, D.C., New American Monotypes. Traveled. Catalogue 1979

Marilyn Pearl Gallery, New York, NY, American Monotypes: One Hundred Years, January

Stanford University Art Museum, Stanford, CA, The Anderson Collection: Two Decades of American Prints, September 29, 1987 –January 8, 1988. Catalogue 1988

Impressions Gallery, Boston, MA, Contemporary American Monotypes, February 1980 1981

Allport Associates Gallery, Corte Madera, CA, Flowers: Prints and Monotypes, April–May

1982 1983

1989

Simon James Gallery, Berkeley, CA, Proof Positive: States, Trial Proofs and Unique Prints, March 30–April 4

1990

Gump’s Gallery, San Francisco, CA, Paper I, Master Contemporary Printmakers, January 3–27 Syntex Gallery, Palo Alto, CA, First Pull...An Exhibition of Monotypes, March 9–April 19

New York Public Library, New York, NY, Suites and Series: Eleven Artists, March–June San Francisco Museum of Modern Art, San Francisco, CA, World Print Four: An International Survey, October 6–December 18. Catalogue

Campbell-Thiebaud Gallery, San Francisco, CA, Works on Paper, May 1–June 2 1991

Victoria Munroe Gallery, New York, NY, Small Paintings, Winter 1984

Santa Rosa Junior College Art Gallery, Santa Rosa, CA, The Poetic Image: Works by William Dole, Leon Goldin, Joseph Goldyne, and Arthur Lerner, February 10–March 8

1986

National Museum of American Art, Smithsonian Institution, Washington, D.C., Recent Acquisitions: Works on Paper, October 4, 1991–February 2, 1992 Crocker Art Museum, Sacramento, CA, Recent Explorations in Still-life, October 29–December 22

1992

Smith Andersen Gallery, Palo Alto, CA, Selected Monotypes, October 19–November 21. Traveled to Western art museums, including Honolulu Academy of the Arts, Honolulu, HI, May 1986. Catalogue 1985

Associated American Artists, New York, NY, Nightlife, August– September 2. Catalogue Santa Rosa Junior College Art Gallery, Santa Rosa, CA, National Invitational Drawing Exhibition, February 4–March 3

Impressions Gallery, Boston, MA, Monotypes, March–April Newport Harbor Art Museum, Newport Beach, CA, and Santa Barbara Museum of Art, Santa Barbara, CA, California: The State of Landscape, 1972–81, July–September. Catalogue

The Oakland Museum, Oakland, CA, Cream of California Prints, May 8–September 27. Brochure

Stanford University Art Museum and T. W. Stanford Art Gallery, Stanford, CA, The Anderson Print Collection at Stanford: Prints, Multiples and Monotypes 1968–1990, August 11–December 13 Syntex Corporation, Palo Alto, CA, Bay Area Greats, September 18–November 4

Chrysler Museum of Art, Norfolk, VA, Contemporary American Monotypes, September 19–November 3

1993

Edith Caldwell Gallery, San Francisco, CA, Self-Portraits in Black and White by Eighty-six West Coast Artists, May 5–29

De Saisset Museum, University of Santa Clara, Santa Clara, CA, Contemporary Monotypes: Six Masters, September 27–December 15. Catalogue

1994

Art Institute of Chicago, Chicago, IL, Recent Acquisitions: 20th Century Works on Paper in the Permanent Collection, January 28–July 24

The Art Corridor, Sacred Heart School, Menlo Park, CA, The Purest Pigment: Pastel, March 14–May 2 Galleri Kulturtorvet, Copenhagen, Denmark, Selected Monotypes, November 6–24

OPPOSITE

Invitation for Joseph Goldyne exhibition, Stanford University Libraries, 2015

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LEF T/RIGHT

Installation, Form and Expression: The Written Word, Center for Book & Paper Arts, Columbia College, Chicago, IL, 2013 Installation, Form and Expression: The Written Word, Brunnier Museum, Iowa State University Ames, IA, 2014 OPPOSITE

Installation, Form and Expression: The Written Word, Brunnier Museum, Iowa State University Ames, IA, 2014

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1995

1996 1997

Fine Arts Museums of San Francisco, San Francisco, CA, Facing Eden: 100 Years of Landscape Art in the Bay Area, June 25– September 10. Catalogue

2007

San Jose Museum of Art, San Jose, CA, De-Natured: Work from the Anderson Collection and the Anderson Graphic Arts Collection, October 13, 2007–January 6, 2008

Leigh Yawkey Woodson Art Museum, Wausau, WI, Flora: Contemporary Artists and the World of Flowers. Traveled

2008

Fine Arts Museums of San Francisco, San Francisco, CA, Contemporary American Monotypes: Selections from the Anderson Graphic Arts Collection, January 26–April 20

Richard York Gallery, New York, NY, Metalpoint: Joseph Stella, John Stores, Joseph Goldyne, April 25–June 7. Brochure

Works Downtown, San Rafael, CA, Singular Impressions: Monotypes, Curated by Carol A. Levy, May 1–June 13

National Museum of American Art, Smithsonian Institution, Washington, D.C., Singular Impressions: The Monotype in America, Spring. Catalogue

2009

Naples Museum of Art, Naples, FL, Saint John’s Bible and The Art of the Book, February

Edith Caldwell Gallery, San Francisco, CA, The Book as Art: Limited Edition Books by Contemporary Artists, April 3–26

2013

Sullivan Goss Gallery, Santa Barbara, CA. An Even Dozen, January 3–April 28

1998

Artists Forum, San Francisco, CA, Landscapes: Real and Imagined, April 21–June 27. Brochure

2002

Connecticut Graphic Arts Center, Norwalk, CT, Bouquet/Art of Flowers, Curated by Anthony Kirk, May 4–July 27

Center for Book & Paper Arts, Columbia College, Chicago, IL, Form and Expression: The Written Word, September 18– December 7. Traveled to: Brunnier Museum, Iowa State University, Ames, IA, February 4–March 21, 2014 2018

Clarinda Carnegie Art Museum, Clarinda, IA, The Magical Art of Printmaking, June 24–December 4

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BIBLIOGRAPHY ARTISTS’ BOOKS — LIMITED-EDITION Bringhurst, Robert. Going Down Singing. Designed by Robert Bringhurst. Printed by Kenneth N. Shure and Liv Rockefeller at Two Ponds Press. Aquatints printed by Robert Townsend, R.E. Townsend, Inc. Georgetown, MA. Bound by Peggy Gotthold, Foolscap Press, Santa Cruz, CA. Camden, ME: Two Ponds Press, 2017. Edition of 89. Buonarotti, Michelangelo. Hard High-Country Poems. Preface and translations by Robert Bringhurst. Designed and printed by Peter Koch with Jonathan Gerken at Editions Koch. Frontispiece drypoint printed by Robert Townsend, R.E. Townsend, Inc. Bound by John DeMerritt Bookbinding, Emeryville, CA. Berkeley, CA: Editions Koch, 2015. Edition of 112 plus 10 artist’s proofs and 4 printer’s proofs. Byron, George Gordon (Lord Byron), et al. Greek Fragments. Printed by Lawrence Van Velzer and bound by Peggy Gotthold, Foolscap Press. Etchings and monotype printed by Robert Townsend, R.E. Townsend, Inc., 2015. Edition of 25. Cavalcanti, Guido. Thirty-three Sonnets of Guido Cavalcanti. Essays and translations by Hugh Kenner and Lawry Nelson, Jr. Designed and printed by Andrew Hoyem at Arion Press. Etching printed by Robert Townsend and Kate Hanlon, R.E. Townsend, Inc. San Francisco, CA: Arion Press, 1991. Edition of 150 plus 26 hors commerce. de Guérin, Maurice. Le Centaure (The Centaur). Printed by Wesley B. Tanner at The Arif Press. Etching printed by Kay Bradner. Berkeley, CA: The Arif Press, 1986. Edition of 50 plus 6 hors commerce.

Joseph Goldyne Small White Waterfall, 2009

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Frank, Anne. Diary of a Young Girl: Het Achterhuis. Designed by Barry Moser and printed by Harold McGrath at Pennyroyal Press. Etchings printed by Kay Bradner, San Francisco. Bound by Harcourt Bindery, Boston. Easthampton, MA: Pennyroyal Press with Jewish Heritage Publishing, 1985. Edition of 450, including 350 numbered. Goldyne, Joseph (as Jeremy Roland). Gathering the Decade. Poems and offset reproductions of ink-wash drawings. San Francisco, CA: Goad Press, 1972. Edition of 1,000. Goldyne, Joseph. Not Conceptual (bound version of the 1999 portfolio). Handset by Eric Holub and printed at Hillside Press, San Francisco. Intaglio prints and monoprint printed by Kay Bradner. Bound by Peggy Gotthold, Foolscap Press. San Francisco, CA: Joseph Goldyne, 1999. Edition of 4. Hogarth, William, and Goldyne, Joseph. Common Geometries. Designed by Joseph Goldyne and Claire Kessler-Bradner. Photographs by Joseph Goldyne. Printed and bound by Claire Kessler-Bradner. Sonoma, CA: Joseph Goldyne, 2010. Edition of 5 plus 3 deluxe copies. Neruda, Pablo (translated by Stephen Kessler). Oda a la Tipografía/Ode to Typography. Designed and printed by Peter Koch at Editions Koch. Aquatints printed by Kay Bradner. Bound by Peggy Gotthold, Foolscap Press. Berkeley, CA: Editions Koch, 1999. Edition of 100 plus 20 lettered and 12 Roman numeral copies. Saroyan, William. Five Ripe Pears. Designed and printed by Peter Koch at Editions Koch. Intaglio prints printed by Kay Bradner and Molly Hooven. Bound by Tim James and Tom Conroy, Taurus Bookbinders, San Francisco. Santa Monica, CA: Bluewater Books, 1996. Edition of 40 plus 10 Roman numeral copies. Shaw, George Bernard, and Einstein, Albert. George Bernard Shaw: A Speech Introducing Albert Einstein. Introduction by Joseph Goldyne. Designed by Michael Russem. Printed by Art Larson, Horton Tank Graphics, Hadley, MA. Etchings printed by Robert Townsend, R.E. Townsend, Inc. Bound by Claudia Cohen, Seattle. Camden, ME: Two Ponds Press, LLC, 2015. Edition of 75. Thomas, Dr. Lewis. Quartet. Introduction by Dr. Carl Djerassi. Printed by Wesley B. Tanner at The Arif Press. Etchings printed by Robert Townsend and Kate Hanlon, R.E. Townsend, Inc. Bound by Klaus-Ullrich Rotzscher, San Francisco. San Francisco, CA: Pacific Editions, and Berkeley, CA: The Arif Press, 1986. Edition of 130 plus 35 hors commerce.

Stefan Zweig (1881–1942) and Joseph Goldyne, The Invisible Collection, 2017

Zweig, Stefan. The Invisible Collection. Designed and printed by Peter Koch at Editions Koch. Frontispiece image printed by Kay Bradner. Bound by John DeMerritt Bookbinding. New York, NY: Ursus Books, 2007. First edition of 50; second edition of 100.

ARTISTS’ BOOKS — UNIQUE Auden, W.H., et al. A Few Waterfalls. 2010. Ten monotypes by Joseph Goldyne, printed with Unai San Martin, Kay Bradner, and Claire KesslerBradner. Cover by Kay Bradner and Claire Kessler-Bradner. Bound by Claire Kessler-Bradner, with box by Juliayn Coleman, Book Island Bindery, Oakland, CA. Baudelaire, Charles, and Shakespeare, William. Women 9. 1976. Nine monotypes by Joseph Goldyne. Calligraphy and illuminations by Thomas Ingmire, San Francisco. Bound by Betty Lou Beck, San Francisco, CA. Blake, William. The Marriage of Heaven and Hell: A Memorable Fancy. 1989. Four monotypes by Joseph Goldyne. Calligraphy and illuminations by Thomas Ingmire. Bound in Fabriano Roma paper. Byron, George Gordon (Lord Byron). Hebrew Melodies. 1992. First-edition book published by John Murray, London, 1815. Seventeen monotypes by Joseph Goldyne. Illuminations by Thomas Ingmire. Bound by Heritage Bindery, Pasadena, CA.

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Goldyne, Joseph, et al. Adam. 1983. Eighteen monotypes and drawing by Joseph Goldyne. Calligraphy and illuminations by Thomas Ingmire. Bound by Donald Glaister, Palo Alto, CA, with cover inset by Neal Pollack, Chicago, IL. _____. Sybil the Scribble. 1973. Poem and six monoprints by Joseph Goldyne. Bound in leather. _____, et al. For Naomi (two-volume set). 1986. Volume I: Letters written to Naomi Goldyne by her grandmother, parents, and brothers with one monoprint and four monotypes by Joseph Goldyne. Calligraphy by Thomas Ingmire. Volume II: Naomi Visits Ambrosia, a bedtime story by and seven monoprinted aquatint etchings by Joseph Goldyne. Text handset by Andrew Hoyem at Arion Press, San Francisco, CA. Hillel the Elder [aka Hillel HaGadol, Hillel HaZaken, Hillel HaBavli]. Book of Life. 1998. One monotype by Joseph Goldyne, printed by Kay Bradner. The text is from a famous quote by Hillel the Elder (c.110 BC–10 AD). Calligraphy and illuminations by Thomas Ingmire. Text printed by Peter Koch at Editions Koch, Berkeley, CA. Bound by Daniel E. Kelm, The Wide-Awake Garage, Easthampton, MA. Box by Ervin Somogyi, carved by Christopher Stinehour, Berkeley, CA.

George Gordon (Lord) Byron (1788–1824) and Joseph Goldyne Hebrew Melodies, 1992

cummings, e.e., et al. Some Skies, Some Clouds. 2010. Nine monotypes by Joseph Goldyne, printed with Unai San Martin, Kay Bradner, and Claire Kessler-Bradner. Cover by Kay Bradner and Claire Kessler-Bradner. Bound by Claire Kessler-Bradner, with box by Juliayn Coleman, San Francisco, CA.

Johnson, Robert Flynn. Gold Records. 2015. Twelve gold-point drawings by Joseph Goldyne. Printed by Lawrence Van Velzer and bound by Peggy Gotthold, Foolscap Press, Santa Cruz, CA. Li Po (translated by David Hinton), et al. Falls. 2015. Twelve etchings, monoprints, and monotypes by Joseph Goldyne printed by Kay Bradner, Unai San Martin, and Robert Townsend. Printed by Lawrence Van Velzer and bound by Peggy Gotthold, Foolscap Press., Santa Cruz, CA. Plato (translated by Benjamin Jowett). The Trial and Death of Socrates. New York, NY: The Limited Editions Club, 1962/2008. Illustrated by Hans Erni. Printed by Giovanni Mandersteig, Stamperia Valdonega, Verona, Italy. Enhanced with twenty-five monotypes and etchings by Joseph Goldyne. Rexroth, Kenneth, et al. A Few Places, A Few Poems. 2010. Nine monotypes by Joseph Goldyne. Cover by Kay Bradner and Claire Kessler-Bradner. Bound by Juliayn Coleman, San Francisco, CA. Yeats, William Butler. The Song of Wandering Aengus. 1988. Three monotypes by Joseph Goldyne. Calligraphy by Thomas Ingmire. Bound by Heritage Bindery, Pasadena, CA.

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BOOKS AND EXHIBITION CATALOGUES Bringhurst, Robert, et al. Joseph Goldyne/Catalogue Raisonné of Books, Portfolios and Calligraphic Sheets. Stanford, CA: Stanford University Libraries, 2015.

Stanford University Art Museum. The Anderson Collection: Two Decades of American Prints. Stanford, CA: Stanford University Art Museum, 1987. Thomas Gibson Fine Arts Ltd. Joseph Goldyne. London: Thomas Gibson Fine Arts, 1976.

Clisby, Roger D. Contemporary American Monotypes. Norfolk, VA: Chrysler Museum of Art, 1985.

Tsujimoto, Karen. Six Printmakers. San Francisco, CA: San Francisco Museum of Modern Art, 1978.

Cohn, Terri. Contemporary Monotypes: Six Masters. Santa Clara, CA: De Saisset Museum, 1985.

Turnbull, Betty. California: The State of Landscape, 1972–81. Newport Beach, CA: Newport Harbor Art Museum, 1981.

Cooper-Hewitt Museum. Artists’ Postcards II. New York, NY: Cooper-Hewitt Museum, 1978.

Western Association of Art Museums. Deja Vu: Masterpieces Updated. San Francisco, CA: Western Association of Art Museums, 1981.

Cummings, Paul. Joseph Goldyne. Seattle, WA: University of Washington Press, 1989.

Winter, David. Joseph Goldyne. San Francisco, CA: John Berggruen Gallery, 1981.

Farmer, Jane M. New American Monotypes. Washington, DC: The Phillips Collection, 1978.

Wisneski, Kurt. Monotype/Monoprint: History and Technique. Ithaca, NY: Bullbrier Press, 1995.

_____. Familiar But Unique: The Monoprints of Joseph Goldyne. Washington, DC: National Museum of American Art, 1982.

LIMITED-EDITION PORTFOLIOS

_____. Selected Monotypes. Palo Alto, CA: Smith Andersen Gallery, 1984. Gamwell, Lynn. Dreams 1900–2000. Ithaca, NY: Cornell University Press, 2000. Holland, Katherine Church. The Art Collection. San Francisco, CA: Federal Reserve Bank of San Francisco, 1986. Johnson, Robert Flynn. Joseph Goldyne/Gold Records: Goldpoint Drawings 1989–1996. New York, NY: Richard York Gallery, 1996. Moser, Joann. Singular Impressions/The Monotype in America. Washington, D.C., National Museum of American Art, Smithsonian Institution Press, 1987. Nash, Steven, et al. Facing Eden/100 Years of Landscape Art in the Bay Area. Berkeley, CA: University of California Press, 1995. National Collection of Fine Arts. Twenty-Fourth National Exhibition of Prints. Washington, D.C. Smithsonian Institution, 1975. Platzman, Steven Z. An Inquiry into Modernity: Recent Work by Joseph Goldyne. London: Thomas Gibson Fine Art Ltd., 1998. Quay Gallery. Joseph Goldyne. San Francisco, CA: Quay Gallery, 1974. San Francisco Museum of Modern Art. World Print Four: An International Survey. San Francisco, CA: San Francisco Museum of Modern Art, 1983.

Asklepiades, et al (Poems from the Greek Anthology). Sweeter Than Honey, 1995. Two lithographs and eight intaglio prints by Joseph Goldyne. Designed and printed by Wesley B. Tanner, Passim Editions, Ann Arbor, MI. Intaglio prints and lithographs printed by Rick Dula, Magnolia Editions, Oakland, CA, and Robert Townsend and Kate Hanlon, R.E. Townsend Inc. Box by BookLab, Austin, TX. Ann Arbor, MI: Passim Editions. Edition of 25. Not Conceptual. 1999. Text, twelve intaglio prints, and one monoprint by Joseph Goldyne. Handset by Eric Holub and printed at Hillside Press, San Francisco, CA. Intaglio prints and monoprint printed by Kay Bradner. Bound by Peggy Gotthold, Foolscap Press, Santa Cruz, CA. Edition of 20 plus 5 proof portfolios (4 bound as books in 2015). Pregnant Shell Landscapes. 1969. Five lithographs by Joseph Goldyne, printed by Paul Maguire and Herbert A. Fox, Impressions Workshop, Boston. Poems printed by Robert Mars and Shirley Borella, Boston. Edition of 30. Ten Firsts in the History of Printmaking. 1978. Ten aquatints by Joseph Goldyne, printed by Jeanne Gantz and David Kelso, El Dorado Press, Berkeley, CA. Typographic page design by Ann Rosener, Woodside, CA. Bound by Schuberth Bindery, San Francisco, CA. Edition of 10. Vitrine. 1978. Ten aquatints by Joseph Goldyne, printed by Jeanne Gantz and David Kelso, El Dorado Press, Berkeley, CA. Text printed by Les Ferroggiaro, The James H. Barry Co., San Francisco, CA. Palo Alto, CA: Smith Andersen Editions. Edition of 30.

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Imaginary Waterfalls, Box IV. 2009. Ten unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box V. 2009. Ten unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box VI. 2009. Twelve unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box VII. 2009. Fourteen unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA.

Joseph Goldyne, Vitrine, 1978

Imaginary Waterfalls, Box VIII. 2009. Fourteen unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA.

UNIQUE PORTFOLIOS

Imaginary Waterfalls, Box IX. 2009. Twelve unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA.

A la Carte. 1978. Ten monotypes by Joseph Goldyne. Housed in a burl wood box with brass hinges and title plate by Joel Hoyer, San Francisco, CA. Adam’s Album. 1973. Fourteen etchings and monoprints by Joseph Goldyne. Housed in red leather clamshell box with title stamped in gold on front and spine. Apres. 1980. Five monoprints by Joseph Goldyne. Housed in brown leather clamshell box with title impressed in script on front cover. Bound by Donald Glaister. Palo Alto, CA. 5 Nudes. 1980. Five monotypes by Joseph Goldyne. Housed in maroon Morocco leather clamshell box with gold-leaf tooling. Bound by Donald Glaister, Palo Alto, CA. Imaginary Waterfalls, Box I. 2008. Twelve unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box II. 2008. Twelve unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. 2008 Imaginary Waterfalls, Box III. 2008. Twelve unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA.

Imaginary Waterfalls, Box X. 2010. Sixteen unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box XI. 2010. Twelve unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box XII. 2010. Fourteen unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box XIV. 2011. Sixteen unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box XV. 2011. Sixteen unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box XVI. 2011. Sixteen unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA.

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Imaginary Waterfalls, Box XVII. 2011. Fourteen unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box XVIII. 2012. Twelve unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box XIX. 2014. Fourteen unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box XX. 2014. Fourteen unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Imaginary Waterfalls, Box XXI. 2016-17. Sixteen unique paintings on gessoed paper by Joseph Goldyne. Housed in leather box by Juliayn Coleman, San Francisco, CA. Night Lights. 1979. Ten monotypes by Joseph Goldyne. Housed in black leather clamshell box with title stamped in gold on spine, wood inlay on front cover, with inlaid ivory elements and water-based pigments. Bound by Donald Glaister, Palo Alto, CA, and Joel Hoyer, San Francisco, CA. Produce. 1978. Twelve monotypes and drawing by Joseph Goldyne. Housed in brown leather clamshell box with gold stamping on spine and bottom of front cover. Bound by Donald Glaister, Palo Alto, CA. Produce 1. 1977–78. Ten monotypes and one additional monotype sheet with embossed title by Joseph Goldyne. Housed in brown leather clamshell box with red leather onlay and gold tooling.

VIDEO Draisin, Dan. The California Draftsmen. New York, NY: The Drawing Society and the American Federation of the Arts, with a grant from the National Endowment for the Arts, 1985. A series of three videos: Joseph Goldyne, Nathan Oliveira and Robert Arneson.

ABOVE

Joseph Goldyne Imaginary Waterfalls, Box I, 2008 BELOW Joseph Goldyne, Sonoma Studio, CA, 2019

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TEXTS AND ESSAYS BY JOSEPH GOLDYNE “The Artist in the Classroom.” Bulletin of The Getty Center for Education in the Arts, 2, Winter 1989, p. 3-4. “Artists’ Books: Some Remarks on a Legacy of Problems.” Quarterly NewsLetter, The Book Club of California, 63: 4, Fall 1998. “British Art at San Francisco.” Apollo, 111: 216, Feb. 1980, p. 122-9. “By Example: Musings on the Location and Legacy of the Achenbach Foundation for Graphic Arts” in Treasures of the Achenbach Foundation for Graphic Arts. San Francisco, CA: Fine Arts Museums of San Francisco, 1995. “Drawing in the Dirt at the Feet of Christ.” Art in Print/The Global Journal of Prints and Ideas, Jan. 2016. “A Few ‘Remarques’ on the Survival of Drawing.” Drawing, VII: 6, Mar.–Apr. 1986. Fifty Treasures/Judaica and Hebraica from Bay Area Collections. Introduction and catalogue entries for the Inaugural Exhibition, Jewish Community Museum, San Francisco. San Francisco, CA: Arion Press, 1984. “Forum: A Late Drawing by Adolph Menzel. “ Drawing, 13: 1, May–Jun. 1991. “Giorgio Morandi’s Drawings and Watercolors.” Drawing, 3: 6, Mar.–Apr. 1982, p. 126-8. Hicks, Bob, and Goldyne, Joseph. Beth Van Hoesen: The Observant Eye. Foreword by Robert Flynn Johnson. Fresno, CA: Fresno Art Museum, and Ames, IA: University Art Museums, Iowa State University, 2009.

Master Drawings/Achenbach Foundation for Graphic Arts/The Fine Arts Museums of San Francisco. San Francisco, CA: Fine Arts Museums of San Francisco, and Geneva, Switzerland: Richard Burton, S.A., 1985. “Matisse—A Personal View” in Henri Matisse/An Exhibition of Drawings. San Francisco, CA: John Berggruen Gallery, 1982. “New Light on Degas’ Dark Dramas (Museum of Modern Art, New York, March 26–July 24, 2016).” Art in Print/The Global Journal of Prints and Ideas, 6: 4, Nov.–Dec. 2016, p. 25-8. Nixon, Bruce, with Introduction by Joseph Goldyne. Things that Dream: Contemporary Calligraphic Artists’ Books/Cosas que sueñan: Libros de artistas caligráficos contemporáneos. Stanford, CA: Stanford University Libraries in association with Fundación Federico García Lorca, Spain/Fundación Pablo Neruda, Spain/Chile, 2016. “Observations on Richard Diebenkorn’s Later Drawings.” Drawing, 15: 6, Mar.–Apr. 1994, p. 124–5. “The Uniqueness and Overlap among Art Production, Art History, Art Criticism and Aesthetics/An Artist’s Point of View.” The Preservice Challenge: Discipline-Based Art Education and Recent Reports on Higher Education (Seminar Proceedings, Aug. 1987 ). Malibu, CA: The J. Paul Getty Trust, 1988, p. 163-9. Van Velzer, Lawrence, with Introduction by Joseph Goldyne. Wrinkles & Creases. Original drawings and etchings by Beth Van Hoesen. Foolscap Press, Santa Cruz, CA, 2010. Edition varieé 20.

Hicks, Bob, et al. Beth Van Hoesen: Catalogue Raisonné of Limited-Edition Prints, Books, and Portfolios. Introduction by Joseph Goldyne. Oakland, CA: Oakland Museum of California; Racine, WI: Racine Art Museum; Ames, IA: University Museums, Iowa State University, Ames, 2011. J.M.W. Turner, Works on Paper from American Collections. Berkeley, CA: University Art Museum, Berkeley, 1975. “John Ruskin and Francesca Alexander” in Francesca Alexander (1837–1917)/ Drawings for the “Roadside Songs of Tuscany.” Woodside, CA: Sven H. A. Bruntjen Fine Arts, Winter 1981, p. 5-8. Johnson, Robert Flynn, and Goldyne, Joseph. Judging by Appearance. Catalogue for the exhibition Drawings from the Goldyne Collection. San Francisco, CA: Fine Arts Museums of San Francisco, 2006.

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SELECTED PUBLIC & PRIVATE COLLECTIONS A Ackland Art Museum, University of North Carolina, Chapel Hill, North Carolina Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts Art Institute of Chicago, Chicago, Illinois C Cantor Arts Center, Stanford University, Stanford, California Chazen Museum of Art, University of Wisconsin, Madison, Wisconsin Cincinnati Art Museum, Cincinnati, Ohio Clarinda Carnegie Art Museum, Clarinda, Iowa Crocker Art Museum, Sacramento, California D Karen and Robert Duncan Collection, Lincoln, Nebraska Joseph Goldyne Falls Sketchbook I, Lone Tree Falls, Drawing No. 47, 2013–14

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F Fine Arts Museums of San Francisco, San Francisco, California Fralin Museum of Art, University of Virginia, Charlottesville, Virginia H Honolulu Museum of Art, Honolulu, Hawaii K Katzen Art Center, American University, Washington, D.C. L Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York M Metropolitan Museum of Art, New York, New York Minneapolis Institute of Art, Minneapolis, Minnesota Monterey Museum of Art, Monterey, California Museum of Fine Arts, Boston, Massachusetts N National Gallery of Art, Washington, D.C. New York Public Library, New York, New York O Oakland Museum of California, Oakland, California P Philadelphia Museum of Art, Philadelphia, Pennsylvania Phillips Collection, Washington, D.C.

Joseph Goldyne Exclamation Fall, 2013

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R Rhode Island School of Design, Providence, Rhode Island S Saint Louis Art Museum, Saint Louis, Missouri Smithsonian American Art Museum, Smithsonian Institution, Washington, D.C. Stanford University Libraries, Department of Special Collections, Stanford, California U University of The District of Columbia, Washington, D.C. University of San Diego, San Diego, California V Victoria and Albert Museum, London, England W Whitney Museum of American Art, New York, New York Y Yale University, Beinecke Rare Book & Manuscript Library, New Haven, Connecticut Z Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey

Joseph Goldyne The Cloths of Heaven, 2017

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ILLUSTRATIONS Page ii Joseph Goldyne, Sonoma Studio, 2019 M. Lee Fatherree, Photographer Page iv Joseph Goldyne Studio Sonoma, CA, 2019 Photograph courtesy of Joseph Goldyne Page vi Joseph Goldyne Studio Sonoma, CA, 2019 Photograph courtesy of Joseph Goldyne Page viii Joseph Goldyne’s etchings, Robert Townsend’s Printing Studio, R. E. Townsend, Inc., Georgetown, MA, 2015 Charlie Townsend, Photographer Page x Sculptures from the Karen and Robert Duncan Collection

ABOVE, LEFT/RIGHT

Bernar Venet (b. 1941) Arcs in Disorder: 22 Degrees Arc X 12, 2000 Rolled steel Roger Bruhn, Photographer

Beverly Pepper (b. 1932) Split Ritual, 1990 Cast iron Ricardo Barros, Photographer BELOW, LEFT/RIGHT

Charles Ginnever (b.1931) No Place to Hide, 1986 Steel John Nollendorfs, Photographer

Richard Long (b. 1945) Rain Line, 2005 Delabole steel Ricardo Barros, Photographer

CENTER, LEFT/RIGHT

Louise Bourgeois (1911–2010) Spider, 1996 Bronze and steel Cole Sartore, Photographer

Dennis Oppenheim (1938–2011) Device to Root Out Evil, 2001 Aluminum, stainless steel, Fiberglass, blue glass Ricardo Barros, Photographer Magdalena Abakanowicz (1930–2017 ) Untitled (from Backs Series In 6 Parts), 1988 Bronze Ricardo Barros, Photographer

Page xi Karen and Robert Duncan, 2017 Cole Sartore, Photographer

Joseph Goldyne Night Falls, 2008

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Page xii Clarinda Carnegie Art Museum, Clarinda, Iowa Alley Poyner Macchietto Architecture, Erin Giannangelo, Photographer Page xiv ABOVE

Interior views, Clarinda Carnegie Art Museum Alley Poyner Macchietto Architecture, Erin Giannangelo, Photographer BELOW, LEFT/RIGHT

Students in CCAM educational program Sandra Williams, Photographer Interior view, Clarinda Carnegie Art Museum Alley Poyner Macchietto Architecture, Erin Giannangelo, Photographer Page xvi Joseph Goldyne End of a Book of Poems (Dorothy Parker), 1996 Oil-based pigments on gessoed paper 4 × 6½ in. (10.2 × 16.5 cm) Collection of Mr. Irving Zaretsky M. Lee Fatherree, Photographer Page xviii LEFT/RIGHT

Joseph Goldyne Sweater Closet, 1980 Colored pencil on paper 26 × 18 in. (66 × 45.7 cm) Joseph Goldyne Parka and Ticket, 1996 Etching: Inks on paper 11 × 8¼ in. (27.9 × 20.96 cm) M. Lee Fatherree, Photographer

BELOW

Page xxi

Joseph Goldyne All Thoughts, All Passions, All Delights, 1998 Colored pencil on paper 19½ × 12 3 ∕8 in. (49.5 × 31.4 cm) Private Collection, Courtesy of Addison Associates Fine Arts, San Francisco, CA

LEFT/RIGHT

Joseph Goldyne Cloths of Heaven (Yeats), 2018 Charcoal on paper 17 × 13 3 ∕8 in. (43.2 × 33.4 cm) Collection Clarinda Carnegie Art Museum M. Lee Fatherree, Photographer

Page xix LEFT/RIGHT

Joseph Goldyne Crystal, Water and Tulips (Hide and Seek), 1985–94 Unique, hand-colored aquatint and drypoint on paper 14 11 ∕16 × 11 7∕8 in. (37.9 × 30.2 cm) Karen and Robert Duncan Collection, Lincoln, NE M. Lee Fatherree, Photographer Joseph Goldyne Min’s Mysterious Sandwich, 1975/2003 Unique, hand-colored monoprint: Etching, aquatint and drypoint on paper 7 in. diameter (17.8 cm) M. Lee Fatherree, Photographer Page xx Joseph Goldyne with Calligraphy by Thomas Ingmire Flowers, 1987 Lines from the poem, Flowers, by Arthur Rimbaud (1854–1891) Drypoint, with hand-written text, inks on paper Image: 6 7∕8 × 4 7∕8 in. (17.5 × 12.4 cm) Paper: 111 ∕8 × 9¼ in. (28.3 × 23.5 cm) Karen and Robert Duncan Collection, Lincoln, NE M. Lee Fatherree, Photographer

Joseph Goldyne Plunge, July 2010 Monotype: Inks on paper 11¾ × 84 15 ∕16 (29.8 × 22.6 cm) Joseph Goldyne Imaginary Waterfall IX, 2009 India ink, water-based and oil-based pigments on gessoed canvas 72 × 18 in. (182.9 × 45.7 cm) Collection Clarinda Carnegie Art Museum Page xxii LEFT/RIGHT

Ohara Donshu (1792–1857 ) Waterfall and Rocks, c.1850 Ink on paper 48¼ × 11 5 ∕8 in. (122.6 × 29.5 cm) Collection of Debbie and Joseph Goldyne Photograph courtesy of Joseph Goldyne Joseph Goldyne Falls Sketchbook II, Drawing No. 19, 2014 Ink wash on paper 10 5 ∕8 × 8¼ in. (27 × 21 cm) M. Lee Fatherree, Photographer

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Joseph Goldyne Falls Sketchbook II, Drawing No.10, 2014 Ink wash on paper 10 5 ∕8 × 8¼ in. (27 × 21 cm) M. Lee Fatherree, Photographer

Joseph Goldyne Falls Sketchbook I, Drawing No. 49, 2013–14 Ink wash on paper 4¾ × 3½ in. (12.1 × 8.9 cm) M. Lee Fatherree, Photographer

Joseph Goldyne Falls Sketchbook II, Drawing No. 25, 2014 Ink wash on paper 10 5 ∕8 × 8¼ in. (27 × 21 cm) M. Lee Fatherree, Photographer

Albert Bierstadt (1830–1902) Half Dome from Glacier Point, Yosemite, c.1873 Oil-based pigments on paper 13¾ × 19¼ in. (34.9 × 48.9 cm) Collection of Debbie and Joseph Goldyne Photograph courtesy of Joseph Goldyne

BELOW, LEFT/RIGHT

Joseph Goldyne Falls Sketchbook II, Drawing No. 11, 2014 Ink wash on paper 10 5 ∕8 × 8¼ in. (27 × 21 cm) M. Lee Fatherree, Photographer Joseph Goldyne Falls Sketchbook I, Drawing No. 51, 2013–14 Ink wash on paper 4¾ × 3½ in. (12.1 × 8.9 cm) M. Lee Fatherree, Photographer Joseph Goldyne Falls Sketchbook I, Drawing No. 55, 2013–14 Ink wash on paper 4¾ × 3½ in. (12.1 × 8.9 cm) M. Lee Fatherree, Photographer Page xxiii LEFT/RIGHT

Shibata Zeshin (1807–1891) Waterfall, c.1880 Ink wash on paper 38¼ × 14¼ (97.2 × 36.2 cm) Collection of Debbie and Joseph Goldyne Photograph courtesy of Joseph Goldyne

Page xxiv LEFT/RIGHT

Joseph Goldyne The Mountains of California, 1989 Prismacolor on paper 19 7∕8 × 10 in. (50.5 × 25.4 cm) Private Collection Joseph Goldyne Supported by Reference, 1998 Pastel and colored pencil on paper 19½ × 12 3 ∕8 in. (49.3 × 31.4 cm) Private Collection Joseph Goldyne Drawing No. 7, Cricket Club Jacket of Clem Gibson, c.1920, June 15, 1998, bound in the unique artists book, Gold Records, 2015 Goldpoint on prepared paper 8½ × 8¼ in. (21.6 × 20.1 cm) M. Lee Fatherree, Photographer

Page xxv LEFT/RIGHT

Joseph Goldyne Drawing No.10, Dad’s Guadagnini, Nov. 16, 2002, bound in the unique artists’ book, Gold Records, 2015 Goldpoint on prepared paper 8½ × 8¼ in. (21.6 × 20.1 cm) M. Lee Fatherree, Photographer Joseph Goldyne Sanctus Seraphin of 1732, 1996 Goldpoint on prepared paper 11¾ × 8¼ in. (29.8 × 20.9 cm) Collection of W. M. Brady, New York Page xxvi LEFT/RIGHT

Joseph Goldyne Salad Oil, January 1987 Monotype: Inks on paper 8¾ × 5¾ in. (22.2 × 14.6 cm) Joseph Goldyne Salad Oil (After Impression), January 1987 Monotype: Inks, watercolor on paper 8¾ × 5¾ in. (22.2 × 14.6 cm) Page xxvii LEFT/RIGHT

Joseph Goldyne The Realm of Night Vision, c.1978 Etching and aquatint: Inks on paper 6 × 215 ∕16 in. (15.2 × 7.5 cm) M. Lee Fatherree, Photographer

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Joseph Goldyne The Realm of Night Vision (Proof I), c.1978 Monoprint: Monotyped etching, aquatint on paper 6 × 2 15 ∕16 in. (15.2 × 7.5 cm) M. Lee Fatherree, Photographer Joseph Goldyne The Realm of Night Vision (Proof II), c.1978 Monoprint: Monotyped etching, aquatint on paper 6 × 2 15 ∕16 in. (15.2 × 7.5 cm) Page xxviii Joseph Goldyne Nocturne, 2011 India ink, oil-based pigments on gessoed paper 10 × 8¼ in. (25.4 × 20.9 cm) Collection of Dan and Debbie Gerber

JOSEPH GOLDYNE: WATERFALLS IMAGINED 1 Joseph Goldyne The Folded Message with Goya’s Ghost Over Martin Johnson Heade’s Harbor, 1975 Monoprint: Etching, aquatint and monotype, inks on paper 11¾ × 8 15 ∕16 in. (29.8 × 22.7 cm) 2 Joseph Goldyne Jolie: P.P. and B.L.T. (Version 3), 1974 Monoprint: Etching and monotype, inks on paper 8¼ × 5 7∕8 in. (20.9 × 14.9 cm)

3 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 10, 2018 Charcoal on paper 14 × 11 in. (35.6 × 27.9 cm) Collection Clarinda Carnegie Art Museum M. Lee Fatherree, Photographer 4 Joseph Goldyne Imaginary Waterfall Monoprint No. 4, 2015 Monoprint: Monotype, burnished aquatint, inks on paper 9 × 3 in. (22.9 × 7.6 cm) 5 Joseph Goldyne Imaginary Waterfall Monoprint No. 3, 2015 Monoprint: Monotype burnished aquatint, inks on paper 9 × 3 in. (22.9 × 7.6 cm) 6 Joseph Goldyne Petticoat Falls, 2016 Monoprint: Monotype, burnished aquatint, inks on paper 9 × 3 in. (22.9 × 7.6 cm) M. Lee Fatherree, Photographer

Collection The Higgins Art Gallery & Museum, Bedford, UK Photograph courtesy of Bridgeman Images 9 Caspar David Friedrich (1774–1840) Wanderer Above the Sea of Fog, 1818 Oil-based pigments on canvas 37 5 ∕16 × 29 3 ∕8 in. (94.8 × 74.8 cm) Collection Kunsthalle, Hamburg, Germany © Stiftung für die Hamburger Kunstsammlungen Elke Walford, Photographer 10 Costantine P. Cavafy (1863–1933) and Joseph Goldyne The Wise Sense Imminent Events, Monotype No. 2, bound in the unique artists’ book, A Few Waterfalls, 2010, with poem, The Wise Sense Imminent Events by Constantine P. Cavafy Monotype: Inks on paper 3 7∕8 × 2 7∕8 in. (9.8 × 7.3 cm) Collection of Neil Elliott, Santa Barbara, CA M. Lee Fatherree, Photographer

7 Joseph Goldyne First Fall, 2005 Oil-based pigments on gessoed paper mounted on wood panel 34 × 12¼ in. (86.4 × 31.2 cm)

11 Frederic Edwin Church (1826–1900) Niagara, 1857 Oil-based pigments on canvas 40 × 90½ in. (101.6 × 229.9 cm) Collection National Gallery of Art, Corcoran Collection, (Corcoran Museum purchase 1876, Gallery Fund) 2014.79.10 Photograph courtesy of the National Gallery of Art

8 Joseph Mallord William Turner (1775–1851) The Great Fall of the Reichenbach, in the Valley of Hasle, Switzerland, 1804 Watercolor on paper 40¼ × 27.2 in. (102.2 × 68.9 cm)

12 Joseph Goldyne Imaginary Waterfall XXVII, 2013 India ink, oil-based pigments on canvas 72 × 18 in. (182.9 × 45.7 cm) Collection Claudia and Adam Goldyne

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19 George Inness (1825–1894) Smoke Rising at Dusk (Italian lake scene), c.1875 Oil-based pigments on gessoed paper 12 × 16 in. (30.5 × 40.6 cm) Collection of Debbie and Joseph Goldyne Photograph courtesy of Joseph Goldyne

25 Joseph Goldyne Imaginary Waterfalls, Box X, Drawing No. 4, 2015 India ink on gessoed paper 7 × 5 in. (17.8 × 12.7 cm) Karen and Robert Duncan Collection, Lincoln, NE

14 Joseph Goldyne Tivoli Capriccio Falls, 2018 India ink and pastel on gessoed paper mounted on board 34 × 12 in. (86.4 × 30.5 cm) Collection Clarinda Carnegie Art Museum M. Lee Fatherree, Photographer

20 Joseph Goldyne Imaginary Waterfall II, 2008 India ink and oil-based pigments on gessoed canvas 72 × 18 in. (182.9 × 45.7 cm) Private Collection, San Francisco

26 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 27, 2018 Charcoal on paper 14 × 11 in. (35.6 × 27.9 cm) M. Lee Fatherree, Photographer

15 Joseph Goldyne Imaginary Waterfalls, Box XIV, Drawing No. 8, 2010 India ink on gessoed paper 7 × 5 in. (17.8 × 12.7 cm) Collection Clarinda Carnegie Art Museum

21 Joseph Goldyne Going Down Singing, Etching No. 3, 2015 Etching, aquatint: Inks on paper 9 × 3 in. (22.9 × 7.6 cm) M. Lee Fatherree, Photographer

27 Joseph Goldyne Falls Sketchbook II, Drawing No.12, 2014 Ink wash on paper 11 × 8½ in. (27.9 × 21.6 cm) M. Lee Fatherree, Photographer

16 Joseph Goldyne Waterfall II, September 2010 Monotype: Aquatint, inks on paper 8 7∕8 × 3 in. (22.5 × 7.6 cm)

22 Joseph Goldyne Going Down Singing, Etching No. 2, 2015 Etching, aquatint: Inks on paper 9 × 3 in. (22.9 × 7.6 cm) M. Lee Fatherree, Photographer

28 Joseph Goldyne Falls Sketchbook I, Rough Terrain Falls, Drawing No. 24, 2013–14 Ink wash on paper 4¾ × 3½ in. (12.1 × 8.9 cm) M. Lee Fatherree, Photographer

13 Joseph Goldyne Imaginary Waterfall XII, 2010 India ink, oil-based pigments on canvas 72 × 18 in. (182.9 × 45.7 cm) Collection Clarinda Carnegie Art Museum

17 Joseph Goldyne Storm Fall, 2010 Monotype: Inks on paper 8 7∕8 × 2 15 ∕16 in. (22.54 × 7.4 cm) 18 Edward Steichen (1879–1973) The Pond, Moonrise – Mamaroneck, New York, 1904 Platinum print with applied color 15 5 ∕8 × 19 in. (39.7 × 48.2 cm) Collection Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933 (33.43.40) Courtesy Artists Rights Society (ARS), New York

23 Joseph Goldyne Going Down Singing, Etching No. 8, 2015 Etching, aquatint: Inks on paper 9 × 3 in. (22.9 × 7.6 cm) M. Lee Fatherree, Photographer 24 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 14, 2018 Charcoal on paper 14 × 11 in. (35.6 × 27.9 cm) M. Lee Fatherree, Photographer

29 Joseph Goldyne Falls Sketchbook II, Drawing No. 2, 2014 Ink wash on paper 11 × 8 ½ in. (27.9 × 21.6 cm) M. Lee Fatherree, Photographer 30 Maruyama Okyo (1733–1795) Waterfall, c.1790 Ink wash on paper 46 3 ∕8 × 13 15 ∕16 in. (117.8 × 35.5 cm) Collection of Debbie and Joseph Goldyne Photograph courtesy of Joseph Goldyne

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31 Ohara Donshu (1792–1857 ) Waterfall, c.1850 Ink wash on paper 48 3 ∕8 × 15 in. (122.9 × 38.1 cm) Collection of Debbie and Joseph Goldyne Photograph courtesy of Joseph Goldyne 32 Kishi Renzan (1805–1859) and Maekawa Bunrei (1837–1917 ) Waterfall with Dangling Vines, c.1855 Ink wash on paper Image: 53 × 11 in. (134.6 × 27.9 cm) Mount: 82 × 15 in. (208.2 × 38.1 cm) Collection of Debbie and Joseph Goldyne Photograph courtesy of Joseph Goldyne 33 Azuma Toyo (1755–1839) Waterfall, c.1800 Ink wash on paper 47 × 18 1.2 in. (119.4 × 46.4 cm) Collection of Debbie and Joseph Goldyne Photograph courtesy of Joseph Goldyne 34 Watanabe Seitei (1852–1918) Frozen Waterfall, c.1895; Original box dated 1896 Ink wash on paper 39 × 13 in. (99 × 33 cm) Collection of Debbie and Joseph Goldyne Photograph courtesy of Joseph Goldyne 35 Shibata Zeshin (1808–1891) Waterfall, Last quarter of the 19 th century Ink wash on paper 38¼ × 14¼ in. (97.2 × 36.2 cm) Collection of Debbie and Joseph Goldyne Photograph courtesy of Joseph Goldyne

36 Joseph Goldyne Going Down Singing, Etching No. 7, 2015 Etching, aquatint: Inks on paper 9 × 3 in. (22.9 × 7.6 cm) M. Lee Fatherree, Photographer 37 Joseph Goldyne Imaginary Waterfalls, Box XIV, Drawing No. 8, 2018 India ink, water-based pigments on paper 7 × 5 in. (17.8 × 12.7 cm) 38 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 15, 2018 Charcoal on paper 14 × 11 in. (35.6 × 27.9 cm) M. Lee Fatherree, Photographer 39 Helen Frankenthaler (1928–2011) Wales, 1966 Acryllic on canvas 133 3 ∕16 × 45 1 ∕16 in. (287.5 × 114.4 cm) Collection National Gallery of Art, Washington, D.C. Anonymous Gift 1981 .86 .1 ©2019 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York 40 Barnett Newman (1905–1970) Onement, I [First Zip Painting], 1948 Oil on canvas and oil on masking tape on canvas 27¼ × 16¼ in. (69.2 × 41.2 cm) Museum of Modern Art, New York Gift of Annalee Newman Photograph courtesy of the Museum of Modern Art, NY © 2019 Barnett Newman Foundation/Artists Rights Society [ARS] New York

41 Wang Wei (c.701–761) and Joseph Goldyne A White Turtle Under a Waterfall, Monotype No. 3, bound in the unique artists’ book A Few Waterfalls, 2010, with poem, A White Turtle Under a Waterfall by Wang Wei Monotype: Inks on paper 3 7∕8 × 2 7∕8 in. (9.8 × 7.3 cm) Collection of Neil Elliott, Santa Barbara, CA M. Lee Fatherree, Photographer 42 Joseph Goldyne Imaginary Waterfall XVIII, 2012 India ink, water-based pigments on gessoed canvas 72 × 18 in. (182.9 × 45.7 cm) Collection Clarinda Carnegie Art Museum 43 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 29, 2018 Charcoal on paper 14 × 11 in. (35.6 × 27.9 cm) M. Lee Fatherree, Photographer 44 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 16, 2018 Charcoal on paper 14 × 11 in. (35.6 × 27.9 cm) M. Lee Fatherree, Photographer 45 Joseph Goldyne The Passing of the Age of Cubism, a Strawberry Presiding, 1973 Monoprint: Etching and monotype, inks on paper 8 11 ∕16 × 11 7∕8 in. (22.1 × 30.2 cm)

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46 Joseph Goldyne Imaginary Waterfall XXII, 2013 India ink, water-based pigments on gessoed canvas I72 × 18 in. (182.9 × 45.7 cm) Collection Clarinda Carnegie Art Museum 47 Joseph Goldyne Lemon Tumbling Down a Georgia O’Keeffe Hill – Cezanne’s Pear Watching, 1972 Monoprint: Monotype over etching, inks on paper 11 7∕8 × 8 5 ∕8 in. (30.2 × 22.6 cm) Collection of Debbie and Joseph Goldyne 48 Georgia O’Keeffe (1887–1986) Waterfall No. III, Iao Valley, 1939 Oil-based pigments on canvas 24¼ × 20 in. (61.6 × 50.8 cm) Collection Honolulu Museum of Art, HI Gift of Susan Crawford Tracy, 1996 (8562.1) Photograph courtesy of the Honolulu Museum of Art © 2019 Artists Rights Society [ARS] New York 49 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 18, 2018 Charcoal on paper 14 × 11 in. (35.6 × 27.9 cm) M. Lee Fatherree, Photographer 50 Joseph Goldyne Imaginary Waterfalls: Charcoal Drawing No. 22, 2018 Charcoal on paper 14 × 11 in. (35.6 × 27.9 cm) M. Lee Fatherree, Photographer

51 Pablo Neruda (1904–1973) and Joseph Goldyne Oda a la Tipografía (Ode to Typography), 1999 Limited-edition artists’ book with poem, Oda a la Tipografía by Pablo Neruda and six aquatints by Joseph Goldyne 9¼ × 4 3 ∕8 in. (23.5 × 12.1 cm) Published by Editions Koch, Berkeley, CA M. Lee Fatherree, Photographer 52 Selection of Joseph Goldyne’s books and portfolios, 2001 M. Lee Fatherree, Photographer 53 Anne Frank (1929–1945) and Joseph Goldyne Diary of a Young Girl: Het Achterhuis, Deluxe Edition, 1985 Limited-edition artists’ book of the diary of Anne Frank, with ten intaglio prints by Joseph Goldyne and a separate suite of ten etchings Images: 9¼ × 2 3 ∕8 in. (23.5 × 7 cm) Sheet: 13 5 ∕8 × 9 in. (34.6 × 22.9 cm) Book: 14 × 9½ × 14 3 ∕8 in. (35.6 × 24.1 × 3.5 cm) Folder: 14 × 9¼ × ½ in. (35.6 × 23.5 × 1.3 cm) Slipcase: 14¼ × 9 5 ∕8 × 2¼ in. (36.2 × 24.5 × 5.7 cm) Published by Pennyroyal Press, West Hatfield, MA and Jewish Heritage Publishing, Northhampton, MA M. Lee Fatherree, Photographer 54 Robert Bringhurst (b. 1946) and Joseph Goldyne Going Down Singing, 2015 Limited-edition artists’ book of the poem in nine parts, Going Down Singing, by Robert Bringhurst with ten burnished aquatints of waterfalls by Joseph Goldyne

Images: 9 × 2 7∕8 in. (22.9 × 7.3 cm) Sheet: 13½ × 6 in. (34.3 × 15.2 cm) Book: 14 x 7 × 1/2 in. (35.6 × 17.8 × 1.3 cm) Clamshell Box: 14¼ × 7½ × 1¾ in. (36.2 × 19 × 4.5 cm) Published by Two Ponds Press LLC, Camden, ME M. Lee Fatherree, Photographer 55 Joseph Goldyne Hiroshige Falls, 2017 India ink and water-based pigments on gessoed canvas 72 × 18 in. (182.9 × 45.7 cm) Collection Crocker Art Museum, Sacramento, CA 56 Joseph Goldyne Steps to Cubism, Version 2, 1977–78 Etching, monoprint: Ink on paper 9 × 11½ in. (22.9 × 29.2 cm) M. Lee Fatherree, Photographer 57 Joseph Goldyne Imaginary Waterfalls, Box XXI, Drawing No. 8, 2018 Inks, oil-based pigments on gessoed paper 7 × 5 in. (17.8 × 12.7 cm) M. Lee Fatherree, Photographer

BIOGR APHY, BIBLIOGR APHY, SELECTED PUBLIC & PRIVATE COLLECTIONS, AND ACKNOWLEDGMENTS Page 24 Joseph Goldyne Studio Sonoma, CA, 2019 Photograph courtesy of Joseph Goldyne

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Page 26 Joseph Goldyne Studio Sonoma, CA, 2019 Photograph courtesy of Joseph Goldyne

Page 32 LEFT/RIGHT

Installation, Form and Expression: The Written Word, Center for Book & Paper Arts, Columbia College, Chicago, IL, 2013 Thomas Ingmire, Photographer

Page 28 ABOVE, LEFT/RIGHT

Poster for Exhibition, Joseph Goldyne: Books, Prints & Proofs, Stanford University Libraries, Stanford, CA, (September 14, 2015–March 15, 2016) M. Lee Fatherree, Photographer

Installation, Form and Expression: The Written Word, Brunnier Museum, Iowa State University, Ames, IA, 2014 Thomas Ingmire, Photographer Page 33 Installation, Form and Expression: The Written Word, Brunnier Museum, Iowa State University, Ames, IA, 2014 Thomas Ingmire, Photographer

Poster for 1977 Group Exhibition, Monotypes from Stanford, T.W. Stanford Art Gallery, Stanford University, Stanford, CA (Summer–Fall) Center for Book & Paper Arts installation of group exhibition, Form and Expression: The Written Word, Columbia College, Chicago IL (September 18–December 7, 2013) Photographer unknown CENTER

Quay Gallery Installation of Exhibition, Joseph Goldyne, San Francisco, CA (September–October, 1973) Photographer unknown BELOW, LEFT/RIGHT

Poster for Exhibition, Joseph Goldyne/Fall Light, Sullivan Goss Gallery, Santa Barbara, CA (September 7–October 29, 2017)

Joseph Goldyne working on etching plate, 2019 Sonoma, CA M. Lee Fatherree, Photographer

Center for Book & Paper Arts installation of group exhibition, Form and Expression: The Written Word, Columbia College, Chicago IL (September 18–December 7, 2013) Photographer unknown Page 30 Invitation for exhibition, Joseph Goldyne: Books, Prints & Proofs, designed by Elizabeth Fischbach Stanford University Libraries, Stanford, CA, 2015 Page 31 Installation, Form and Expression: The Written Word, Center for Book & Paper Arts, Columbia College, Chicago, IL, 2013 Thomas Ingmire, Photographer

Page 34 Joseph Goldyne Small White Waterfall, 2009 Oil-based pigments on gessoed canvas 14 × 11 in. (35.6 × 27.9 cm) Page 36 Stefan Zweig (1881–1942) and Joseph Goldyne The Invisible Collection, 2007 Limited-edition artists’ book designed and printed by Peter Koch at Editions Koch, Berkeley Published by Ursus Books, NY M. Lee Fatherree, Photographer Page 37 George Gordon (Lord) Byron (1788–1824) and Joseph Goldyne Hebrew Melodies, 1992 Unique artists’ book of the first-edition book published by John Murray, London, 1815,

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enhanced with 17 monotypes by Joseph Goldyne and illuminations by Thomas Ingmire M. Lee Fatherree, Photographer

Page 54 Joseph Goldyne working on etching plate, 2019 Sonoma, CA M. Lee Fatherree, Photographer

Page 39 Joseph Goldyne Vitrine, 1978 Limited-edition portfolio of ten aquatints, printed by Jeanne Gantz and David Kelso, El Dorado Press, Berkeley, CA. Text printed by Les Ferroggiaro, The James H. Barry Co., San Francisco, CA. Published by Smith-Anderson Editions, Palo Alto, CA. Edition of 30 M. Lee Fatherree, Photographer

Page 55 Joseph Goldyne working on painting, 2019 Sonoma, CA M. Lee Fatherree, photographer Page 56 Waterfall paintings in Joseph Goldyne studio, Sonoma, CA Photograph courtesy of Joseph Goldyne Page 58 CCAM Director Trish Bergren with student Clarinda Carnegie Art Museum, 2016 Sandra Williams, Photographer

Page 40 ABOVE

Joseph Goldyne Imaginary Waterfalls, Box I, 2008 Twelve unique paintings: Inks, oil-based pigments on gessoed paper, housed in leather box by Juliayn Coleman, San Francisco, CA. 7 × 5 in. (17.8 × 12.7 cm) M. Lee Fatherree, Photographer BELOW

Joseph Goldyne, Sonoma Studio, 2019 Sonoma, CA M. Lee Fatherree, Photographer Page 42 Joseph Goldyne Falls Sketchbook I, Lone Tree Falls, Drawing No. 47, 2013–14 Ink wash on paper 4¾ × 31/2 in. (12.1 × 8.9 cm) M. Lee Fatherree, Photographer

Page 44 Joseph Goldyne Exclamation Fall, 2013 India ink, oil-based pigments on gessoed canvas 23¾ × 8 in. (60.3 × 20.3 cm) Page 45 Joseph Goldyne The Cloths of Heaven, 2017 Pastel on gessoed canvas 34 × 12 in. (86.3 × 30.5 cm) Page 46 Joseph Goldyne Night Falls, 2008 Oil-based pigment on gessoed paper 8 3 ∕8 × 4 7∕8 in. (21.3 × 12.4 cm)

END SHEETS

Joseph Goldyne Falls Sketchbook II, Drawing No. 18, 2013–14 Ink wash on paper 43/4 × 31/2 in. (12.1 × 8.9 cm) M. Lee Fatherree, Photographer FRONT COVER

Imaginary Waterfall XX, 2012 Oil-based pigments on gessoed canvas. 72 × 18 in. (182.9 × 45.7 cm) Collection of Dr. Alfred Goldyne, San Francisco, CA M. Lee Fatherree, Photographer

Joseph Goldyne working on painting, 2019 Sonoma, CA M. Lee Fatherree, Photographer

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ACKNOWLEDGMENTS A project of this scope requires the coordination, skills and dedication of a sizeable team. Thus, a debt of gratitude is due every individual involved in the publication of this catalogue and in the organization of the Clarinda Carnegie Art Museum’s exhibition, Joseph Goldyne: Ephemeral Memories. Primarily, we would like to thank Joseph Goldyne, whose ability to create extraordinary universal statements from ordinary moments has made this project possible. He has generously loaned and gifted art to CCAM, giving Midwesterners the opportunity to share his unique vision for years to come. It is a privilege for regional audiences to have access to these eloquent works. Thankfully, this catalogue will carry that pleasure farther afield. We are indebted to Jeremy Tessmer for his insightful essay on Goldyne’s work. His in-depth knowledge of American art in general, and his familiarity with the artist’s work, make him uniquely qualified to set Goldyne’s art in the context of his time and influences. M. Lee Fatherree has photographed Goldyne’s artwork for over forty years and knows how to capture its subtleties. In addition, the photographs by Ricardo Barros, Roger Bruhn, Erin Giannangelo, John Nollendorfs, Cole Sartore, Charlie Townsend, Sandra Williams, and others have helped to enhance this presentation, and we are grateful to all of them.

Waterfall paintings in Joseph Goldyne studio Sonoma, CA

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The publication design and layout, by John Hubbard/EMKS, Finland, have brought this catalogue to life. Special appreciation goes to Anne Kohs & Associates for coordinating the design, layout, photography and production. Kohs was ably assisted by Diane Roby, who edited the artist’s biography, bibliography and collections, as well as authors’ texts, and by Pam Rino Evans, who organized and coordinated the photography, and assisted with editing. Gary Hawkey, John Bailey and Stephanie Lock at iocolor, LLP, Seattle, have set the standard for expert color management.Their coordination with Artron Color Printing Company, China, has assured top-quality, professional printing and binding. Special recognition goes to Clarinda Carnegie Art Museum founders Karen and Robert Duncan for graciously continuing to share their art, hearts and resources. Their enthusiastic support of the Goldyne project advances their goal of making art an accessible part of human experience. Finally, CCAM Director Trish Bergren deserves acknowledgement. Her tireless work to develop first-rate educational and community programming has assured that Joseph Goldyne’s work will receive the attention it so richly reserves. Anne Pagel, Curator

CCAM Director Trish Bergren with student Clarinda Carnegie Art Museum, 2016 Sandra Williams, Photographer

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JOSEPH GOLDYNE This catalogue is published in conjunction with the exhibition, Joseph Goldyne: Ephemeral Memories, organized by the Clarinda Carnegie Art Museum, Iowa, June 2–December 3, 2019.

Catalogue concept, research, and project coordination by Anne Kohs & Associates, Inc., Portola Valley, California. www.artistsforum.com

Copyright of artworks by Joseph Goldyne are held by the artist. Copyright of texts published in the catalogue are held by the respective authors. Photography copyrights are held by the respective photographers.

Edited by Pam Rino Evans, Anne Pagel, and Diane Roby. Image management by Pam Rino Evans.

Typeset in Gill Sans Light by EMKS, Finland

All rights reserved under International and Pan-American Copyright Conventions. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, or otherwise without written permission from Anne Kohs & Associates, Inc.

Color and print management by iocolor, LLP, Seattle, Washington

Printed and bound by Artron Color Printing Company, China

ISBN Number 978-0-578-50958-7

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Back Tip-In : This edge to spine

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