The Gehenna Press, founded by Leonard Baskin while he was still a student, remained active until his death in 2000. Taking inspiration from the illustrated books of William Blake, Leonard Baskin decided to learn printing and create books of high artistic quality. The name of the press derives from a verse in John Milton's Paradise Lost, a reference to the "black Gehenna" as a symbol of hell. Over more than five decades, the Gehenna Press produced more than 100 artworks, earning a prominent place in the landscape of art publishing houses. The printed books often included woodcuts and lithographs reflecting Leonard Baskin's unmistakable style, characterized by a bold use of black and white and a dramatic and grotesque aesthetic.
Leonard Baskin considered himself primarily a sculptor, although he excelled in many other art forms, including watercolor, painting, and printmaking. His figurative artworks stood out for their ability to address deep and complex themes such as mortality, the Holocaust, and social issues.
One of his most monumental sculptures is The Funeral Cortege, a bronze artwork that adorns the Franklin Delano Roosevelt Memorial in Washington, DC. This work represents a funeral procession symbolizing collective mourning and memory. Another significant artwork is the 30-foot bas-relief commissioned for the same memorial, completed in 1994. Leonard Baskin is also remembered for the bronze statue of a seated figure erected in 1994 for the Holocaust Memorial in Ann Arbor, Michigan.
Leonard Baskin's woodcuts and woodblock prints were often large in size and depicted human and animal figures in ways ranging from naturalistic to fantastic. His artworks are characterized by a grotesque and sometimes unsettling vision, with swollen or deformed figures representing a profound reflection on the human condition. Despite the dominance of abstract expressionism in the art scene of the time, Leonard Baskin remained faithful to figurative representation, convinced that it was the only means to express the universality and uniqueness of the human being.
Leonard Baskin always declared himself a supporter of the figurative artistic tradition. In a quote taken from the New York Times, he explained: “The human figure is the image of all men and of a single man. It contains everything and can express everything.” This approach led him to be defined by the New York Times as “Sculptor of Stark Memorials,” thanks to his ability to evoke deep emotions through figurative art.
Leonard Baskin collaborated with some of the greatest poets of his time, including Ted Hughes and Sylvia Plath. His friendship with Ted Hughes was particularly significant; he illustrated the poetry volume Crow in 1970 and other works such as A Primer of Birds published by the Gehenna Press in 1981. Sylvia Plath dedicated the poem “Sculptor” to Leonard Baskin in the collection The Colossus and Other Poems (1960). Among other authors who collaborated with the Gehenna Press are James Baldwin, Anthony Hecht, and Ruth Fainlight. Their works, paired with Leonard Baskin's engravings, represent a unique combination of art and literature. In 1992, a retrospective of 50 years of Gehenna Press books toured the United States, including a major exhibition at the Library of Congress.
In 1974, Leonard Baskin moved with his family to Great Britain to be close to Ted Hughes. During his stay at Lurley Manor, Devon, he continued to create impactful artworks and collaborate with internationally renowned artists and poets. After a few years, he returned to the United States in 1984 and taught at Hampshire College in Amherst, Massachusetts.
His artworks are now preserved in some of the most prestigious public and private collections in the world, including the Amon Carter Museum in Fort Worth, the Hirshhorn Museum and Sculpture Garden in Washington, and the Museum of Modern Art in New York.
Leonard Baskin died on June 3, 2000, leaving an extraordinary artistic legacy. His work continues to inspire generations of artists, printers, and sculptors. His artistic vision, centered on the human figure and the expressive power of the figurative tradition, remains a beacon for anyone who believes in the power of art to address universal themes and profoundly influence individuals.
In an era dominated by abstraction, Leonard Baskin chose to remain faithful to his ideals, demonstrating that figurative art can be equally revolutionary. Through his monumental sculptures, his artist books, and his engravings, Leonard Baskin redefined the role of the artist as a chronicler of the human condition. His commitment to art and dedication to figurative work represent a shining example of how art can be a powerful means to explore and understand humanity in all its facets.