In Great Britain, Henry Moore, one of the great sculptors of the 20th century, published a number of strong lithographs. Graham Sutherland, a painter, made more than 100 etchings and lithographs in a distinctly personal style. Anthony Gross, one of the most talented and prolific English printmakers, has published an impressive body of excellent landscape etchings and engravings. Among later artists, the imaginative and personal graphic work of David Hockney should be singled out.
In the United States, after the turn of the century, most of the prominent painters became fairly active printmakers: George Wesley Bellows, in lithography; John Sloan and Reginald Marsh, in etching; Milton Avery, in drypoint and a large number of monoprints; and Stuart Davis, in colour lithography. Among these painter-printmakers, two artists are particularly notable: Edward Hopper, whose few etchings are very personal and of unusually high quality; and Ben Shahn, an extremely prolific printmaker, who left an impressive graphic oeuvre in practically every medium. Of the present generation of established painter-printmakers, only a few are creatively involved in the process, while the rest let the commercial printer take over.
A revival of the art of the woodcut began in Japan in the late 1920s as part of the modern art movement. Onchi Koshiro and Hiratsuka Un-ichi were early exponents who, though working in different styles, did most for the renaissance of this national art, which thrived once again after World War II. Among the notable woodcut artists of the postwar period are Munakata Shiko and Saito Kiyoshi.
Since the mid-20th century, there has been a spectacular increase in printmaking activity. Artists all over the world are enthusiastically working and experimenting in every conceivable medium. In this period probably more prints were made and more technical innovations introduced than in the previous history of printmaking.
