Our next Artist You Need To Know has work in more than 300 public collections, including the National Gallery of Art, Seattle Art Museum, University of Notre Dame, University of Illinois Urbana-Champaign, Purdue University, The Dayton Art Institute and the BnF – Bibliothèque nationale de France. If that isn’t impressive enough, early in his career, he participated in MoMA The Museum of Modern Art’s “Young American Printmakers” exhibition. Later exhibitions would include the Brooklyn Museum, The Art Institute of Chicago, Museum of Fine Arts, Boston, University of Nebraska-Lincoln, the Instituto Mexicana in Mexico City, University of Maryland, Chicago Center for The Print, and the Museum of Northern Illinois University.
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The Parable in which the King Keeps the Jellybeans, 1979
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Lucky Mashed Potatos, 1972
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Visitation while Herod Searches, 1957
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Fly America, 1976
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Preview Showing, 1978
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The Everday Occurance, 1973
David Dreisbach (1922 – 2019) was a prolific artist and printmaker: his works are narrative but often surreal, and clearly informed by his life and experiences. His education was interrupted to serve in WWII (in the South Pacific), but post war he studied in both North America and Europe. His skill and focus in printmaking is demonstrated by how he was an innovator in the development of new printmaking techniques and in his later years, he traveled the U.S. giving workshops at colleges on color viscosity printmaking, a technique he learned while on sabbatical in Paris. There was a significant revival in printmaking as an art form, in the decades after WWII, and Dreisbach is one of the artists responsible for this. Dreisbach is one of those artists whose influence is just as strongly defined by his extensive teaching as it is by his practice.
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The Same Moon, 2002
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Dress Up Day at the Old Men's Home, 2001
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You Deserve a Break Today, 1978
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A breeze from offshore, 1995
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Roxy, 1978
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Night in the City, 1988
Dreisbach’s images are playful but also sometimes unsettling, and the titles allude to a wide range of ideas: sometimes continuing the theme of religious imagery, sometimes reflecting his immediate world, and sometimes with a touch of the absurdly insightful.