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J.I. Biegeleisen and Max Arthur Cohn (a co-founder of the Society noted above), writing in 1942 about the origin and development of serigraphy, observed: "Specially noteworthy has been the work of the National Serigraph Society, New York, which has been the source of inspiration, clearing house, and temple of artists and print makers everywhere ...
[5] [6] Hopf provided one of the six limited-edition prints for the Silk Screen Group's 1943 calendar. [7] Hopf's work was included in the 1940 MoMA exhibition American Color Prints Under $10. [8] He was also included in the 1944 Dallas Museum of Art exhibition of the National Serigraph Society. [9] Hopf died on July 17, 1999. [1]
The Society's "active program of traveling exhibits, lectures, and portfolios of prints helped to sustain and broaden interest in the serigraph". [27] The Dallas Museum of Art held several exhibits of the work of the National serigraph Society members in 1944, 1947, and 1951 [28] [29] [30]
Floethe's work was included in the 1944 Dallas Museum of Art exhibition of the National Serigraph Society. [6] In 1975 he donated a 1939 WPA calendar to the Library of Congress. The calendar was an example of New York City Poster Division's work. [7] Floethe died on September 30, 1988, [1] in Sarasota, Florida. [4]
1940 – Stanley William Hayter, fled Paris and moved his experimental print workshop, Atelier 17, to New York for the duration of World War II. [38] [39] Atelier 17 closed in 1955. 1940 – National Serigraph Society founded. [40] The group's original name was the Silk Screen Group until 1944.
She was a founding member of the National Serigraph Society. [1] She was included in the 1947 and 1951 Dallas Museum of Fine Arts exhibitions of the National Serigraph Society. [3] [4] Freedman exhibited her work at the Brooklyn Museum, the Hudson River Museum, the Library of Congress, and the Metropolitan Museum of Art. [2]
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The next year, Velonis, Max Arthur Cohn, Warsager, and other artists co-founded the National Serigraph Society. [1] [8] [21] It started out with relatively small commercial projects, such as "rather fancy" Christmas cards that were sold to many of the upscale Fifth Avenue shops for a dollar apiece.
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