Paulson Fontaine Press

In his multifaceted work, Kerry James Marshall strives to address “the lack in the image bank” by elevating Black figures who have been excluded from Western art. Using a variety of black pigments, the artist heightens the skin tones of his subjects to honor their identities rather than ignore them. Best known for his large-scale paintings, Marshall also works in collage, photography, video and other media.

Born in Birmingham, Alabama, Marshall later grew up in the Watts neighborhood of Los Angeles, where his family relocated in 1963. As he studied art, including at the Otis Art Institute (now Otis College of Art and Design) in Los Angeles, he was struck by the absence of Black bodies in art history and museums. At the age of 25, he painted A Portrait of the Artist as a Shadow of His Former Self (1980). Its central figure, whose features almost merge with the background in their varying shades of black, references Ralph Ellison’s Invisible Man, the protagonist of which cannot be seen as a human being by other members of society because he is Black. For Marshall, A Portrait marked the start of an ongoing examination of the simultaneous visibility and invisibility of Black Americans.

Marshall’s practice has continued to concentrate on confronting stereotypes in the Black experience by celebrating joy and commemorating moments of Black history. His paintings frequently engage with the white-dominated traditions of the art historical canon by borrowing elements of style ranging from the Renaissance to the abstract movements of the 20th century. While he has said that he is driven by a sense of social responsibility for what he witnessed growing up in the South before the Civil Rights Act and in Los Angeles during the Watts riots of 1965, Marshall doesn’t focus on trauma in his works’ narrative scenes. Instead, they regularly depict people involved in everyday activities yet portrayed with the monumentality of a tableau painting.

Now based in Chicago, Marshall is recognized as one of the country’s leading contemporary painters, with a 2016 retrospective, "Mastry," touring the MCA Chicago, MOCA and the Metropolitan Museum of Art. In 2018, his painting Marshall’s Past Times (1997) sold for $21.1 million, the highest ever auction price for a work by a living Black artist.

Browse a collection of Kerry James Marshall’s art on 1stDibs.

Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

Find fine art prints for sale on 1stDibs today.