r of the Bibliotheque Nationale, Paris.

The excellent collections of chiaroscuro prints in the Museums of the
Smithsonian Institution have formed a valuable basis for this monograph.
These prints include the set of Jackson's Venetian chiaroscuros,
originally owned by Jackson's patron, Joseph Smith, British Consul in
Venice, now in the Rosenwald Collection, National Gallery of Art, and
the representative sampling of Jackson's work in the Division of Graphic
Arts, U.S. National Museum.

I am indebted to the following museums which have kindly given
permission to reproduce Jackson prints in their collections. These are
listed by catalog number.

Smithsonian Institution 16, 18, 19, 20, 21, 22 (also in color), 24,
25, 26, 27, 28, 29, 30, 39, 50, 51, 52, 53 (also in color), 54, 55,
56, 57, 58, 63

Museum of Fine Arts, Boston (W. G. Russell Allen Estate) 1 (also in
color), 11, 14, 23, 33, 34, 38, 40 (also in color)

Fogg Art Museum 13 (also in color)

Worcester Art Museum 32

Metropolitan Museum of Art 5 (Rogers Fund) (also in color), 17, 31
(gift of Winslow Ames), 73 (Whittelsey Fund)

Philadelphia Museum of Art (John Frederick Lewis Collection) 2, 60,
61, 62, 64, 65, 66, 67, 68, 74

British Museum 2 (in color), 6, 7, 8, 9, 10, 12, 15, 37, 41, 42, 43
(also in color), 44, 45, 46, 47, 48, 49 (also in color), 59, 69, 70,
71, 72, 75, 76 (photographs by John R. Freeman & Co.)

Victoria and Albert Museum (Crown copyright) 3, 35, 36, 40

Finally, I want to thank the Editorial Office of the Smithsonian
Institution for planning and designing this book; the Government
Printing Office for their special care in its production; and Mr. Harold
E. Hugo for his expert supervision of the color plates.

A grant from the American Philosophical Society (Johnson Fund), made it
possible to conduct research on Jackson in Europe. Acknowledgment is
herewith gratefully given.

JACOB KAINEN

_Smithsonian Institution_

_September 1, 1961_

_John Baptist Jackson_

18th-Century Master

of the Color Woodcut

Jackson and His Tradition

_The Woodcut Tradition_

Although the woodcut is the oldest traditional print medium it was the
last to win respectability as an art form. It had to wait until the
1880's and 1890's, when Vallotton, Gauguin, Munch, and others made their
first unheralded efforts, and when Japanese prints came into vogue, for
the initial stirrings of a less biased a