Certainly one of the remarkable phenomena of our generation has been the development of print making as a major form of artistic expression. While it would be impossible in this brief article to go into the historical aspects of contemporary printmaking, at least it might be pertinent to observe that the evolution of the modern print stems primarily from the great French masters such as Gauguin and the German expressionists, rather than from the technically skillful, yet decidedly dessicated popular styles of the late 19th and early 20th century British and American etchers. Then too, the present generation has come indirectly under the influence, even if quite unconsciously, of such master etchers as Picasso, Matisse, Rouault, and others.

Besides this, except for the small daring band of French and German artists, the greater segment of print makers were working in a “purist” tradition, “pure” dry-point, “pure” engraving, yet never experimenting in the excitement of mixed media. Today, our young printmakers mix their media in the name of “intaglio”, and producing results shocking to the purists, have nevertheless, revived an almost dead art with an excitement of both black and white as well as color, plus an enormous introspective imaginative insight.

It is perhaps also a great significance that many of America’s most inspired young printmakers are the product of our colleges and universities. Among the principal teachers of this new type of college trained artist is Mauricio Lasansky of the University of Iowa. The list of his graduates now maintaining distinguished reputations as printmakers known both in Europe and this country is long indeed, and not least among these is Wendell H. Black, Associate Professor in the Fine Arts Department of the University of Colorado. Professor Black received his Bachelor of Fine Arts degree in 1947, and the following year his Master of Fine Arts, both at Iowa. His graduate study was devoted almost entirely to printmaking. It was then that Black mastered the basic intricacies of technical knowledge. Had he stopped his exploration of the vast reservoir of technical skills at the end of his graduate year he would, like many others, have remained a highly competent craftsman, but not the artist that he became.

In the fall of 1948 Black joined the staff of the University of Colorado, and while devoting a vast majority of his time to the problems of teaching a new generation of printmakers, he constantly devoted every spare bit of energy to a deeper understanding of himself, his family, and the enriched knowledge of human relationships. All this helped in feeding the personal inner resources of the man himself, resources from which he drew in expressing the profound depth and breadth of meaning so dramatically exhibited in the variety of his work. The accompanying illustrations speak far better than words in giving clarity to this thesis.

While in every sense devoted to his teaching and his personal creative work, Black was also an ardent fisherman and lover of the outdoors. From 1941 to 1945 he served as a Master Sergeant in the army, and was on active duty in Europe during both D-day and VE day. What influence could World War II, or fishing in the high hills of Colorado have had on the work of the artist? This would be hard to say, yet much of Black’s work has a deep religious significance. This religious element is not characterized by any specific sectarian connotation, but rather in the broad and universal sense of devotion to both principles and practice of those principles. Drawing, perhaps often completely unconsciously, from the breadth of his experience, and from a deep self-analysis, Black maintained a marvelous sense of order in his work in spite of the often apparent complexities of any single print. For above all his work displays, besides the emotional impact, a powerful sense of controlled orderliness.

Whether in a self-portrat, or in his observation of nature as in “Dead Sea Gull”, one finds the same depth of perception of self as related to the world of nature, or the world of nature as so deeply perceived by self.

It is no wonder that Black was a constant source of inspiration to his students, and these students in turn constitute some of the major next-younger generation of already nationally and often internationally known young printmakers.

Since 1955 Professor Black has been connected with the Weyhe Gallery in New York, and more recently with the Seligman Gallery in Seattle, and The Gallery in Denver. His work was featured in the summer issue of Art News in 1955, and in La Revue Moderne published in Paris in 1957. Among the major institutions in which his work is represented are the Bibliotheque Nationale, Paris; the Victoria and Albert Museum, London; the Library of Congress, Washington, D.C.; The New York Public Library, New York City; the Achenbach Foundation for Graphic Arts, San Francisco; the University of Illinois, Urbana, Illinois; as well as many other museums and numerous private collections.

It would take far too much space to include the list of major invitational and juried exhibitions in which Professor Black’s work has been shown, but it would not be amiss to state that this list includes practically every important exhibit.

In conclusion, may I state that as a close friend, former teacher (when I taught at the University of Iowa), and associate at the University of Colorado, some readers may find too much praise and too little criticism. Perhaps such an attitude may be justified, but from my point of view, I can only offer two of my own justifications, Professor Black’s own work as a printmaker, and the work of this students as their teacher.

Alden F. Megrew
Former Head of the Department of Fine Arts
University of Colorado
Boulder, Colorado

"He was a great technician and a great artist, and when you put the two together, great things happen.” Gordon Gilkey of Oregon State University, printmaker and authority on the international print scene, spoke of the late Wendell H. Black. He considers Black “the finest pure engraver this country has ever produced”, and ranks hiim on the world scene as among the 10 finest artist-engravers. Yet the general public is relatively unfamiliar with Black’s work, although it was occasionally exhibited in this country and Europe. Berk Chappell, a Professor of Art at Oregon State University, who took his masters under Black at the University of Colorado, says there were several reasons why Black’s work hasn’t became better known. "He didn't seek personal prestige” Chappel said. He had an extraordinary devotion to his students, and he gave so much of his time to developing, almost single handedly, one of the finest printmaking facilities at the University of Colorado of any educational institution in the nation.” Black’s widow, Elaine, said: "Bud had a tendency never to complete editions. He would take one or two prints, and then he would be off to another work." Chappell, who said that anyone who was able to make it through a masters in printmaking was allowed to call Black “Bud,” tells stories of his years as a student that round out a picture of the artist as a beloved, but exacting taskmaster, who expected and got the best from his students, and one who instilled in them a feeling of humility towards their art. Chappell recalled that during one of Black’s northwest visits, he wanted to hole up one evening just to draw. “He put all of them (the drawings) in the garbage can,” said Chappell, who emptied it into his private collection. "They were all superb, as he was an unbelievably magnificent draftsman". Chappell also recalled his bet with Black, that he could print Black’s “Mountainscape” engraving better than he could. “ I won (a case of Coors beer) and lost too.” said Chappell. “Every time he wanted a print of it afterwards, he’d ask me to do it.” Chappell said that whenever Black found a student who knew what a line was, he’d say, “I want to see you in the basement” (the printing making studio). A burin, when sharpened to Black’s specifications, said Chappell, was one which, by its own weight, had to leave a mark on the copper plate. Chappell said that Black developed his imagery in the process of working the plate, that it developed as he worked, not from a preconceived image in drawing, and that unlike a line drawn on paper, each put down was there to stay. Mrs. Black confirmed that: “He would simply start working one corner, and they just evolved." This could help account for the sense of interior life, an organic quality which Black’s prints have that is totally attuned to the imagery itself. Much of the imagery is of a religious nature, and much concerns life and death, and there is in them all a sense of exquisite, finely honed strength.

As beautiful as the prints are, Chappell said that in a way, he considers the copper plates from which they were printed even more beautiful. "They are a marvel and they are magnificent," he said.

Chappell said in referance to Bud's work he thinks Ethel Merman's reply to reporters when asked for her reaction to Mary Martin's work is somehow appropiate..."she's OK - if you like talent," Merman reportedly said.

Beth Fagan Northwest Magazine, 1977

As an educated, accomplished artist, Black was capable in various media but achieved his mastery in the graphic arts. His special field was in the art of the copper plate; his special love was the art of burin engraving. In all he imposed a disciplined orchestration of countless complex elements into coherent impact. Yet it was in the strength, the power and sureness of his burin engravings that much of his work will be remembered. His command of this traditional, admired, but currently rare technique of direct drawing into the copper plate, places him at the forefront of the graphic masters in this country, and in Europe.

Lee Chesney
Professor of Art
University of Hawaii

His skill with the burin brought the copper plates to careful completion, each line conveying its message of harmony, until the completed image was incised deep into the metal. The vision was intense, and the craftsmanship equal to the task of executing many prints of the highest quality.

Malcolm H. Myers
Professor of Art
University of Minnesota

There is a labyrinthian elegance about Bud's work which produces a sense of exhileration as one is transported by the magic of his line across intricate surfaces and intense subjects of his work. One cannot write about it, one has to observe it, and sense it in the work. It is there.

Rudy Pozzatti
Professor Of Art
University Of Indiana

It is with great love and admiration that we extend a special thank you to Professor Berkley Chappell. Without his undying dedication to promoting Dad's work, and the countless hours spent printing the plates of our father, Wendell H. Black, none of this would have been possible.

Thanks Berk,

Tim & Ken Black