By Rachael Baldanza, Creative Workshop Curriculum Director
This young man’s arched eyebrows, dapper hat, and forthright stare have been known to stop other visitors to the Memorial Art Gallery. But so far, it’s been two years and I’ve yet to shake myself from his stare and his story.
Museums are full of images of men and women who no longer live, but somehow linger. Art of course has always been used to ‘fix’ an image, and present someone in a positive or powerful way. In New York, in 1928, a young artist could concern himself with looking in a mirror and demonstrating his technical and creative skill. Self-portraits are great self-marketing tools for artists— if your self-portrait looks like you, a patron can easily tell. That’s why Rembrandt and Whistler made etched self portraits; maybe part of the reason why artists will always make self-portraits.
This artist is Hugh Pearce Botts, who lived in New York City and New Jersey between 1903 and 1964. He was active as a printmaker, draughtsman, painter, writer, teacher, and inventor during his 61 years on the planet. Though he probably never lived here, about 85 of his works of art (including one sketchbook) are in the permanent care of our museum.
(above Hugh P. Botts, Self-Portrait, c. 1928, Gift of Robert W. Brown, 83.134.25*—*this is the acquisition number, every museum object has one and it is based on the year, the collection and the number by which the piece entered the collection).
Hugh P. Botts, East River, 1936, American Print, Etching, 11 3/4 in. x 9 7/8 in. (29.85 cm x 25.08 cm) Gift of the artist, 42.40.
On the left is a landscape with active people and machines, of the kind that made Botts respected as a printmaker.
Here is the artist again, photographed by his friend, Robert W. Brown. The photo is inscribed “To Mother and Dad, With Love, Hugh. Christmas, 1936.” It clearly shows Botts working on the etching plate that he used to print the etching we just saw. At Christmas, 1936, the country was again feeling the effects of the Great Depression but artists – including Botts – were encouraged by the newly established Works Projects Administration or WPA. Botts was hired by the WPA to work on the New York City Graphics program- to create his prints.
A few years ago, several of us (myself, Memorial Art Gallery curators Jess Marten and Margie Searl, preparator Carol Acquilano, and librarian Lu Harper) began talking about the images by and of Hugh Pearce Botts (1903- 1964). We were all in our own ways struck by the images, the craft, and the messages in the roughly 85 prints in the permanent collection. These prints have been in storage for many years and have rarely been exhibited, so it has been a treat to research and present Botts prints in a rotating sequence on the walls of the American galleries.
The three seen here are those currently on view; they’ll change on Wednesday, October 21 to feature 3 more Hugh Botts prints.
Even with steady work on the WPA, by the end of the decade a printmaker like Botts would be trying to sell his work, which brings me to one of my favorite of his prints and one that is currently on view.
In the print to the left, Botts drew and etched eight mini versions (thumbnails in reverse I guess) of eight of his most known prints. This would have been his way of advertising that he would be selling his work at the Washington Square Outdoor Artists Exhibit. Apparently this show started just like the Clothesline Festival did, with informal and friendly displays of artists work directly for sale from the artists. Just as artists annually put their work on view for the public to see, ask about, and purchase, so did the artists who came before.
The process of researching an artist, can be surprising, particularly when it connects in fascinating ways to our lives. Recently, while reading a book about inventions (Henry Petroski’s The Evolution of Useful Things: How Everyday Artifacts-From Forks and Pins to Paper Clips and Zippers-Came to Be as They Are. Random House, 1994. ). I was struck by the history of the paperclip. I remembered that Botts held several patents during his life and worked as an inventor. Sure enough, a search of Google patents turned up a Botts paperclip! A man who worked in a studio cluttered with drawings and prints probably needed a good multiple page holding paper-clip!
Botts prints are on view in the American galleries. All of Botts images (by kind permission of his relatives) are viewable by entering “Botts” in the Quicksearch box at http://magart.rochester.edu/.
On November 1 at 2 pm, I will be giving a public lecture about Botts and I hope to show and tell more of Botts’ prints then, but also I look forward to hearing your questions…
Rachael Baldanza, 
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Yesterday was a big day for the 1913 building.
Major exhibition, 
Opening Weekend Schedule of Events Not To Miss at the Memorial Art Gallery:
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