Print Study Picks
By Lori Williamson
March 19, 2025—Welcome to Print Study Picks, a monthly series of dispatches from Mia’s Herschel V. Jones Print Study Room. Selections will complement recent exhibition openings, events, and the changing seasons and may include an occasional random draw!
In this first edition of Print Study Picks, we’re showcasing the variety of works viewable in the Print Study Room with three prints that each use a unique printmaking technique. While their methods and time periods differ widely, their quality, beauty, and capacity to intrigue are shared.
Jacques de Gheyn II; Designer: Dirck Barendsz; Publisher: Joos de Bosscherl, Diana and Actaeon, c. 1590, engraving
We begin with Diana and Actaeon (c. 1590), an engraving by Jacques de Gheyn II. Engraving is a printmaking process in which lines are cut into a metal plate (usually copper), onto which ink is then applied.
This engraving depicts a story from Metamorphosis, a Latin narrative poem by the Roman poet Ovid, written in 8 CE. In the foreground, we see the famous Theban hero, Actaeon, surprising Diana, the goddess of the hunt, as she bathes. As punishment for his intrusion, Actaeon is turned into a stag and eaten by his dogs. The print depicts the exact moment of Actaeon’s transformation and, in the background, his unfortunate fate. Prints from the Renaissance often told a complete story in one image. While the tale itself is gruesome and sad, the beauty and skill of the print is undeniable.
Henri Matisse, Three Apples and Plate, 1914–1915, monotype on chine paper. The Putnam Dana McMillan Fund, P.86.4
Moving forward in time, we have Three Apples and Plate (1914–1915) by Henri Matisse. This piece is a monotype—a print method in which only one image is created. In contrast to the highly detailed Diana and Actaeon, this print is a study of beauty through simplicity. Matisse applied ink to a plate and then removed it with sparing, delicate lines. The plate and a piece of paper went through the printing press, and this singular image is the result.
Julie Buffalohead; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis, Piggyback, 2015, lithograph in black ink with hand-applied gouache, watercolor, colored pencil, and ink. The Friends of Bruce B. Dayton Acquisition Fund and The Christina N. and Swan J. Turnblad Memorial Fund, 2020.85.13
Piggyback (2015) is a lithograph—a printmaking technique that uses a stone to create images—with a top layer of gouache, watercolor, and colored pencil applied by hand. This work is part of the Highpoint Center for Printmaking archive, which is housed at Mia.
The artist is Julie Buffalohead, who is an enrolled member of the Ponca Tribe of Oklahoma and lives and works in Saint Paul, Minnesota. Buffalohead creates compelling visual narratives told by animal characters. Here, the simplicity of the background contrasts with the detail of the owls’ plumage, inviting viewers to look closely and consider the additional layers of meaning—social, historical, and political—embedded in the image.
Exploring three printmaking methods–engraving, monotype, and lithography—in this month’s Print Study Picks reveal the breadth of works on paper in Mia’s collection.
About Lori Williamson, Supervisor of the Herschel V. Jones Print Study Room at Mia
Lori Williamson creates mini-exhibitions and teaches classes and Print Study Room visitors about the museum’s rich collection of works on paper. She’s the primary caretaker for more than 40,000 prints, 6,000 drawings, and 600 artists’ books, collaborating with curators in American, European, and Global Contemporary Art to make these holdings accessible. Williamson supports scholars through research and inquiry, and advocates for the inclusion of works on paper in exhibitions, social media, and outreach, helping to connect diverse audiences with this dynamic collection.
Interested in seeing something in the Print Study Room? All are welcome by appointment. Email Lori Williamson and copy the Print Study Room to make an appointment.