Observation allows us to answer the fundamental questions of art: Who, what, and when? At first glance, this piece is a hand-colored woodcut greeting card created in 1936. It depicts the Nativity scene through bold, modernist lines and a palette of festive green and burnt orange.
While the subject is the birth of Jesus in Bethlehem, the history behind the work is equally significant. This was not a commercial product, but a personal greeting from the household of Charles Turzak (1899–1986). Signed “Charles-Florence-Joan Ruth” and dated October 18, 1936, the card was intended for a private audience of family, friends, and colleagues in the Chicago art scene.
The Alchemy of the Woodblock Print
To understand this Charles Turzak woodcut, one must view the woodblock as a sculptural stamp. The process is a test of precision:
- The Relief: Turzak transferred his drawing onto a wood block and used chisels to carve away the “negative space.”
- The Risk: Any wood left behind will catch ink; any wood carved by mistake is gone forever.
- The Final Print: After a series of “proofs,” the artist applies ink to the relief. To achieve the vibrant colors, Turzak used a “reverse painting” technique or hand-tinted the prints, making each one feel unique.
A Modernist Nativity and WPA Influence
Turzak took a story told for millennia and reimagined it through the lens of American Modernism. His stylistic choices in this 1936 piece are profound:
- The Shepherd’s Beards: On the left, three shepherds follow the Star. Turzak’s mastery is visible in their features; the eldest shepherd’s beard is weathered by white space, while the younger shepherd’s is a thick, solid black.
- The Light of Jesus: Mary cradles a glowing infant. Unlike the rest of the print, which is saturated in color, Jesus is rendered in bright white rays of light—a modernist take on the traditional halo.
- Symbolic Setting: There is no figure of Joseph here, a common trait in early iconography. Instead, subtle lines near the bottom suggest the blades of grass in a humble manger.
Hope During the Great Depression
Created in the heart of the Depression, this print was a message of resilience. By using negative space, a technique for which Turzak is world-renowned, he defined faces with just a few expert cuts. As your eye moves toward Mary, the detail increases until you can see her individual eyelashes.
Holding this piece, one can see the ink seeping through the back of the paper, a tactile reminder of the artist’s hand. It remains a rare testament to a master’s craft and a family’s holiday wish for optimism.
This piece reminds us that the story of Jesus isn’t stuck in the past; it is a living narrative that adapts to every era. In a time of national hardship, Turzak chose the Nativity over secular symbols like Santa Claus because he knew where true hope resided. Holding this piece and seeing the ink seep through the back of the paper is a tactile reminder that the Gospel is hand-crafted, personal, and timeless.
Printable Object Label
Artist: Charles Turzak (American, 1899–1986) Title: Greetings from the Turzaks (Nativity) Date: 1936 Medium: Hand-colored woodcut on paper Description: A rare personal holiday greeting from the artist’s family. Turzak utilizes a “white line” woodcut technique to create a high-contrast, modernist interpretation of the Nativity. This piece reflects the “American Scene” style of the WPA era, emphasizing light and hope during the Great Depression.
Provenance Record
- Artist Origin: Created in the Chicago studio of Charles and Florence Turzak, October 1936.
- Original Distribution: Mailed as a personal greeting to a private list of friends and patrons.
- Current Status: Privately held, Pennsylvania.