Lloyd Moylan’s New Deal prints were widely distributed by the Federal Art Project. Untitled (Dinnertime), for example, is now in museum collections from Tucson, AZ, to Madison, WI, and Missoula, MT. Since its invention in the late 18th century, lithography has been valued as a method of high-volume printmaking, and it certainly offered a way for New Deal art programs to produce and distribute prints in great numbers. (Untitled (The Breadwinner) is another example of a widely distributed Moylan lithograph in Gallup’s New Deal art collection.) Lithography has also been valued for the way it combines soft effects of shading with fine line work. Because the process begins with drawing, the result shows the movement of the artist’s hand. In Untitled (Dinnertime), Moylan experiments with a variety of techniques, including outlining, contouring, cross-hatching, scribbling, erasing, and rubbing. The resulting pattern of curves, lines, and textures emphasizes the image’s graphic quality.
