Benton Murdoch Spruance (American, 1904-1967), Last Stop–Beach Haven, 1941, Lithograph, Sigmund R. Balka Collection, Photo: Adam Reich. |
From the Naturalistic of the Depression to the Evocative of the 1960s |
Williams College The Long Night and the New Day features 24 lithographs by Benton Spruance. The Long Night and the New Day spans Spruance’s long career, charting the major shift in his style from the more specific and naturalistic renderings of the Depression era through World War II to his later, more abstracted and evocative work of the 1960s. The Long Night and the New Day tells two stories, both of which are alluded to in the title. The Long Night is the name of one of Benton Spruance’s signature lithographs — it is an impassioned protest of the dehumanizing effect of McCarthyism in 1950s America. The New Day refers to the advances that Spruance achieved with color lithography during his career, bringing about a revival for a medium that had not flourished since the turn of the century. In his work, Spruance often used biblical stories and classical myths to evoke individuals struggling with enduring moral dilemmas. Whether the subject was Job or Odysseus, Spruance focused on humans wrestling with the metaphysical meaning of life. Through his diligence and experimentation, Benton Spruance was able to push lithography to new levels. He developed techniques that are still in use today, including subtractive lithography, a practice which allows the artist to use a single stone for several colors. During his later years, Spruance received non-stop awards for his innovation, including a then unprecedented two Guggenheim Foundation awards. |
Benton Murdock Spruance (American, 1904-1967), Black Friday, 1958, Lithograph, Sigmund R. Balka Collection, Photo: Adam Reich. |
Benton Murdock Spruance (American, 1904-1967), Saint Francis –The Fields, 1953, Lithograph, Sigmund R. Balka Collection, Photo: Adam Reich. |
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