Born in Alexandria, VA and currently living in New York, Emily Trueblood studied at Beloit College, Academia Artium in Spain, University of Wisconsin, Pratt Graphics Center, Arts Students League, and New School.
She is a member of the Society of American Graphic Artists (SAGA) where she serves as a council member, Audubon Artists, National Arts Club, Salmagundi Club, Albany Print Club, and National Association of Women Artists.
Emily Trueblood has won many awards and has had several one-person exhibitions in New York. Her prints have been included in numerous exhibitions in the United States, Europe, Asia, and South America.
I look for city and nature views that appeal to me. I change and simplify the composition until I feel that I can express it as a woodcut or linocut. In city views, I like the contrast of round water towers next to straight buildings. I am interested in creating a mood or the feeling of certain weather with the colors I use. I add a third or fourth block if I feel it is necessary, but many times I use two blocks. When I begin I often do not know what the final print will look like; I find it challenging to solve problems as I go along. In the proofing stage I draw and paint on a proof until I find the colors I want to use. I often return to the same themes in new prints.
Woodcuts and linocuts enable me to work in a simplified, bold way. Once cut, the blocks are almost impossible to change. I like working like this way because it forces me to focus on what I most want to express.
After finishing a line drawing using sketches and photos, with transfer paper I transfer the drawing to a wood or linoleum block. As with other print media, the transferred drawing must be backwards. Then I cut out the line using special woodblock knives and gauges, roll oil-based black ink on a glass surface with a hand roller, and roll the inked roller over the surface of the block until it is fully covered. I place the block in a linoleum frame that is on the bed of the press (flat part of the press that slides under the roller). I have several frames with openings cut to the sizes of the blocks I use. Then I put paper on top of the inked block and roll it under the heavy roller which transfers the ink from the block to the paper. I print several prints and then draw and paint on them until I know what I want to do. After more cutting on the first block, I offset the image onto one to three more blocks. To offset, I print the first block then tape the paper to the frame, exchange the first block with one that is uncut, and run it through the press to transfer the image from the paper to the block. After cutting the other block(s), usually one for each color, I continue with the proofing process until I am sure how I want the print to look.
When I am ready to print an edition or part of an edition (usually 50 prints with five artist's proofs), I mix the colors, bearing in mind that one color printed over another makes a third color. Then I tear enough paper (Rives heavyweight white) to the right size to print the whole or part of the edition. Printing can be frustrating because every print has its own problem, such as having a block that is difficult to ink, and many bad prints are discarded along the way. When the edition has been printed and the prints have dried for a couple of weeks, I sign, title, and date the prints.
Born 1942 in Alexandria, VA
British Museum, Cleveland Museum of Art, Detroit Institute of Arts, Library of Congress, Housatonic Museum of Art, Museum of Modern Art, Haifa, Israel, Mississippi Museum of Art, New York Historical Society, New York Public Library, Portland Museum of Art
One Person Exhibitions
The Old Print Shop, NYC; Loho Gallery, Louisville, KY; The Old Print Gallery, Washington, DC
Selected Juried Exhibitions
Society of American Graphic Artists 81st Members Exhibition, The Old Print Shop, NYC, 2014; 9th International Miniature Print Biennial, Center for Contemporary Printmaking, Norwalk, CT, Speedball Purchase Prize, 2013; “Blossom DC,” The Old Print Gallery, Washington, DC, 2012; “PCNY Artists’ Showcase 1994-2010, Prints from Members’ Collections,” The Print Club of New York, National Arts Club, NYC, 2011;”Bridge: SAGA Comes Down Under,” Society of American Graphic Artists 77th Members’ Exhibition, Frye Gallery, Braidwood, Australia, 2010; Society of American Graphic Artists, Hollar Society, Prague, CZ Rep., 2006; “Impressions of New York: Prints from the New York Historical Society,” New York Historical Society, NYC, 2005. And forty years of national and international exhibitions.
Audubon Artists Silver Medal of Honor for Graphics, Catharine Lorillard Wolfe Anna Hyatt Huntington Bronze Medal, Center of Contemporary Printmaking Purchase Award, Trenton State College Purchase Award
Audubon Artists, Catharine Lorillard Wolfe Art Club (Board Member 2006), National Arts Club (Exhibiting Artist Member), Salmagundi Club (Prize Committee 2010, Admissions Committee 2014-), Society of American Graphic Artists (Treasurer 1988-1994, Council Member 1995-2002, 2014-)
Beloit College, Beloit, WI, Academia Artium, Madrid, Spain, University of Wisconsin, Madison, WI, Pratt Graphics Center, NYC, Art Students League, New School
The Old Print Shop, The Old Print Gallery, ebo Gallery
Who’s Who in American Art, Who’s Who in America, Biographical Encyclopedia of American Painters, Sculptors and Engravers to 2002
Print “Empire State View 2” reprinted “Affordable Art, The Old Print Shop,” New York magazine, March 12-19, 2007
Print “Rooftop View 1” reprinted “Plate, Block, Screen and Stone,” New York Times, August 29, 2004
Print “City Night” reprinted on cover, program of 13th Annual Print Fair, 2003
“Up on the Roof: In a New Exhibit at the New York Historical Society, four visual artists help show why the city is best viewed from on high, “ by Ariella Budick, Newsday, July 7, 2001
Print “Fast Start” reprinted, “A Commitment to Finding Good Things in Small Packages,” New York Times, April 15, 2001
Print “Flatiron Night” reprinted on cover, Where magazine, New York, August, 1996
$150.008" x 6" Woodcut ..$175.0010" x 8" Linocut ..$225.008" x 6" Linocut ..$150.006" x 8" Linocut ..$225.008" x 6" Linocut ..$225.006" x 4" Linocut ..$200.008" x 6" Linocut ..$500.0020" x 16" Woodcut ..$225.0010" x 8" Linocut ..$150.008" x 6" Linocut ..$400.0020" x 16" Linocut ..$350.008" x 6" Linocut ..
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