The Art of Douglas Warner Gorsline

(1913-1985)

Research Paper by

Beverly Barham MLS 501 Seminar

“Art and Society in France” Dr. Dudley Marchi, Professor

Summer, 2009

November 1968:

photo sent to Marie in

New York “to prove

that I'm painting for

my love”

Wedding photograph Paris 1969.

(Marie appears to be showing off her ring.)

Douglas paints while Marie reads to him.

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The Art of Douglas Warner Gorsline

Douglas Gorsline was an American illustrator/painter born in Rochester, New York in

1913. According to his widow, Marie, he knew from a very early age that he wanted to be an

artist and one of his first artistic renderings (a watercolor seascape featuring a lighthouse) as a

young boy is lovingly displayed by Marie (who acquired the drawing from his mother) in The

Museum Douglas Gorsline located on the farm at Bussy-le-Grand where he and Marie lived and

worked together from the mid 1960‟s until his death in Dijon in 1985. (Interview with Marie

Gorsline)

Gorsline studied at the Yale School of Art from 1930-31 and the Art Students League in

New York from 1931-1934. . In 1936, he married Elizabeth (Zippy) Perkins and she was often

the female subject in his early paintings. In 1947, at the age of 34, he was elected a full

academician of the National Academy of Design in New York where he later taught drawing

from 1959-1962. His talent was multi-faceted and he enjoyed success in every aspect of his

long artistic career. He was a printmaker, illustrator, author and painter and enjoyed lifelong

friendships and collaborations with several famous and interesting fellow artists in both the

United States and abroad during his lifetime.

He received awards from several art groups and organizations and exhibited in one-man

art shows across the United States. His work can be found in numerous private collections and

exhibited in museums in both the United States and abroad.

Gorsline the Illustrator/Graphic Artist/Author (1940s- mid-1960s)

Gorsline entered the world of professional commercial art as an illustrator in the early

1940‟s. His etchings and engravings were influenced by the realist manner of 40‟s American

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artists such as his teacher and mentor, Kenneth Hayes Miller, who was a master of the urban

art scene. Zippy was “the ideal Gorsline type” for that genre---“one part „buxom working gal‟

and one part „lost soul‟.” She had been an art student herself and the two enjoyed a compatible

artist/model collaboration even though their marriage did not last (the couple were divorced in

1959). The subjects in his paintings during this period “often wear overcoats or wraps that have

been allowed to hang open, revealing a drapery of blouse or dress underneath” and he often

plays light against dark in his paintings/etchings. Art reviewers at the time noted that he had a

fascination with clothing detail that made many of his paintings “documents of mid-century

dress.” (Via, p. 249)

The first time Gorsline submitted his work (Girl‟s Head) for consideration for exhibition, it

was to the Memorial Art Gallery‟s Annual Exhibition of Work by Rochester Artists and Craftsmen

in 1935. The work was awarded the first purchase prize ever awarded at the Gallery. He was

only 22 years old. Soon afterwards, he became one of 10 artists of “special promise” enrolled at

the Art Students League in New York. In 1938, he was included in the Whitney Museum‟s

prestigious annual exhibition of contemporary art. Art Digest became interested in him and

began to follow his progress as an artist. In 1942, his portrait, “My Better Half” won the

Lippincott Prize for best figure painting at the Pennsylvania Academy of Fine Arts. Also in 1942,

“Bar Scene” (this piece depicted his preferred genre at that time---scenes from everyday life)

was added to the Memorial Art Gallery collection. (Via)

Gorsline also “had a penchant for the faraway gaze.” His subjects during that period

seldom make eye contact with the viewer---suggesting they are distancing themselves. The

subjects also sometimes appear to be distancing themselves from other subjects in the drawing.

For instance, “The woman in the Bar Scene turns away from the casual possessiveness of her

cigarette-smoking companion and despite her fur jacket and décolletage, she seems less

glamorous than wistful.” (Via, p. 249)

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Art critics when commenting on his work during this period made comments such as:

“keen sense of characterization” and “complete statements equipped with an aesthetic subject,

predicate and period.” Art News noted that his was the work of “a young artist whose

draughtmanship has real distinction, and who handles his colors with ease.” Reviews also

noted the influence of the old master in his work---likening his time-consuming techniques as

based on the techniques of Titian and Rubens, noting that “successive layers of semi-

transparent oil glazes were layered over egg tempera that he mixed himself, creating the illusion

of depth and inner light.” (Via, 249)

Gorsline did a painting entitled, Costello‟s Bar, which included a portrait of the proprietor

(Costello), which hung in the establishment until around 1947. He later re-acquired the painting

around 1957 and afterwards painted a different portrait of Costello on top of it. Costello‟s Bar is

still displayed in the Memorial Art Gallery Collection and has been loaned out for a number of

exhibitions.

It is believed that Bar Scene was based on a placed called Costello‟s Bar, a favorite

haunt for writers at the New Yorker, The Daily News, United Press International and the

Associated Press, located at Third Avenue and Forty-fourth Street in New York City. Gorsline

designed a menu for the Irish bar and grill which also boasted mural decorations by James

Thurber (a regular) and which was made famous in John McNulty‟s, This Place on Third

Avenue. Regulars at the establishment include “truck drivers, horseplayers, glamour girls,

draftees, has-beens, never-weres, dreamers and despairers.” These types would have

provided rich subject matter for Gorsline‟s desire to depict scenes from every day life. The menu

he designed for Costello‟s bar depicting a collage of scenes at the bar was very detailed and

intricate. The menu can be viewed at the following website:

http://mag.rochester.edu/seeingAmerica/essays/62.swf. It is a fine example of his skill as a

draftsman. (Via, 251)

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In 1948, Gorsline was recognized by the National Academy as “one of the younger

brilliant painters.” Critics began to urge Gorsline to free himself of Miller‟s (his early teacher)

influence and see how much further he could develop his personal style beyond this genre. For

a brief period, he stopped painting altogether and stopped exhibiting. During this period, he

worked on a costume book that he would later publish and began to prepare for travels abroad

where he could explore fresh subject matter and undergo a period of self-discovery to determine

where he wanted to take his vision of realism in his paintings. (Via; Marie Gorsline interview;

www.musee-gorsline.com )

By the late 1950‟s he began experimenting with combining his vision of realism with

“cubism” which had become very popular at the time, but which he could never really come to

fully embrace until he found a way to incorporate realism into the technique. (Via; Marie

Gorsline interview; www.musee-gorsline.com)

His early fascination with dress and costume detail ultimately culminated in a costume

book both written and illustrated by the artist entitled, What People Wore: A Visual History of

Dress from Ancient Times to the Early Twentieth Century, which was published by The Viking

Press in 1952 and republished by Dover Publications in 1994. The massive volume included

exquisitely detailed renderings of thousands of period garments and was often used as a

reference book by those wishing to recreate period dress in authentic detail. The book included

5000 years of clothing styles. The cover of the Dover Publication touts the book as

a…”meticulously researched and accurately rendered…depict[ion] of garments ranging from

diaphanous gowns of Egyptian royalty, ornate robes of Byzantine dignitaries and elegant

dresses worn by 18th-century Parisians, to picturesque outfits of American frontiersmen and the

revolutionary 1920s wardrobe of the American flapper.” (back cover, What People Wore, Dover

edition)

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He illustrated more than 24 books throughout his career, specializing in historical

subjects. He had a long association with Sports Illustrated magazine as an illustrator/reporter

and his illustrations also appeared in magazines such as The New Yorker, American Heritage,

and Horizon. He did the illustrations for the Charles Scribner‟s Sons 1947 publication of

Thomas Wolfe‟s book, Look Homeward Angel. The original artwork is now housed on the

Campus of the University of North Carolina in Chapel Hill, NC. He also did line drawings and

full color paintings that were included in the 1949 edition of Pride and Prejudice, published by

The John C. Winston Company of Philadelphia. (www.artcyclopedia.com;

www.printdealers.com; Marie Gorsline interview)

Gorsline’s Career as Realist Painter (mid-1960s-1985)

During his period of introspection about his artistic direction, Gorsline was introduced to

an art representative who would later become his third wife, Marie Gorsline. Douglas met Marie

in the early 1960s and she began to work for him. It was at this time that he had a desire to

exhibit his artwork again to show what he had discovered in his personal artistic transformation

“that there were new possibilities for expressing realism.” He had a plan to travel and apply his

conceptual vision to scenes that were new to him. Marie helped him secure funding and plan

exhibitions of his work. After receiving a Tiffany Foundation Grant in 1963 he began to focus on

his painting and developing his own personal style and technique in earnest. He also had his

commissions from Sports Illustrated and profits from a series of children‟s books he illustrated

that helped make it possible to pursue his vision. (Douglas Gorsline brochure)

His first European painting tour in the early 60‟s helped him focus and define his new

style and techniques. The process of his art became “the questioning and reassessing of

reality.” His subjects were displayed in true actuality rather than symbolically (as in pure cubist

form). He became focused on realism and how he wanted to express that in his work. It was

during this time that he became very interested in cubism, motion and photography depicting

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motion and that he also became interested in anti-establishment art produced by Abstract

Expressionists and Pop Artists, such as Andy Warhol (he did a painting of Marie in the Warhol

style), but he still maintained a strong interest in depicting the “real “ image rather than a

symbolic representation of the “real”. He incorporated cubism into his expressions of realism in

order to depict the “real” in new ways. The use of cubism as a technique also helped to

incorporate the “real” as it changes from moment to moment through movement and emotion.

(Douglas Gorsline brochure; www.musee-gorsline.com)

He developed and refined his own unique style blending cubism with realism and

incorporating his love of capturing motion as sequential movement. Douglas and Marie coined

a term that would be descriptive of his artistic vision, “Sequential Simultaneity.” Marie explains

what he wished to capture with this painting style:

“That sequences of visual events could be shown simultaneously while simultaneous ones could be shown in a sequence. That segments of a landscape shown in a sequence as though being simultaneously seen were so constituted as to reconstitute the act of people’s envisionment as they moved through the world registering images. That sequences of impressions of individual people shown in a simultaneous time frame in one painting were intended to allow the viewer to sense these people as living, moving and revealing their character through time.” (Douglas Gorsline brochure, p. 10)

According to Marie, his incorporation of cubism into his realistic images allowed him to

achieve his artistic vision and transfer that vision to canvas all in one painting. By incorporating

cubism and movement into his personal style, he was able to pay homage to his love of cubism

without sacrificing his love of realism. His love of cubism and movement were greatly

influenced by two artists that he admired and with whom he formed lifelong friendship alliances--

-photojournalist, Etienne-Jules Marey and cubist artist, Juan Gris. (Marie Gorsline interview;

www.answers.com ; www.musee-gorsline.com)

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From the perspective of an art representative, Marie shared with our study abroad group

some insights into what she admired about Douglas as an artist. She had always been

fascinated at how quickly he could sketch a subject or a scene (she mentioned that she had

seen him complete a work in less than an hour) with such accuracy and attention to detail---

detail that was often quite intricate. She noted that in one of his paintings, The Camera‟s Eye,

(which is one of my personal favorite Gorsline paintings) there are several different textures

(binoculars, leather case, apple, china, sunglasses, etc.) and each texture is very realistically

captured making the painting look more like a photograph than a painting. Marie pointed out

that even the sunglasses lying on the table realistically show reflective properties of the lens as

well as the images that are reflected in the lens. (Marie Gorsline interview)

Marie noted that in the years from the early 60s on he preferred to work in oils on canvas

and developed a preferred color pallet (which is housed in the Gorsline museum) that included a

favorite shade of blue as a predominant color that stood out among the more muted tones.

Variations of his preferred blue appear draw the viewer‟s eye (at least this viewer‟s eye) in most

of his paintings as one moves from painting to painting in the Gorsline museum.

In 1965, he moved to a farm he purchased in the Burgundy region of France near Dijon

and shortly after wrote to Marie, and asked her if she might like to join him there. She did---and

the rest, according to Marie, is history. Marie soon became his third wife and the two became

inseparable for the remainder of his life. Marie describes their relationship as one of mutual

devotion and mutual collaboration. (Marie Gorsline interview)

The two collaborated on a series of children‟s books: The Pioneers (1978) – Marie and

Douglas Gorsline; The Night Before Christmas (1975) – Illustrated by Douglas Gorsline; North

American Indians (1977) – Marie and Douglas Gorsline; Nursery Rhymes (1977) – rhymes

selected by Marie, Illustrations by Douglas. The royalties from The Night Before Christmas

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helped fund the conversion of a barn on their property to the Gorsline Museum that houses his

works today.

Marie would accompany the artist wherever he chose to paint---which was often from his

car “studio” wherever he saw a scene that inspired him. He preferred to paint as Marie read

aloud to him from some of his or her favorite books. She was definitely his muse as many of his

paintings are of Marie---or Marie is a subject in them. There are also several paintings that

include the two of them, some with Marie reading or working in the background as he works on

a painting. Marie would also aid him in his work by taking many photographs of the people and

places they visited in their travels. He used some of these photographs to help fill in his

renderings of his visual memories onto canvas. (Marie Gorsline interview)

Richard Gangel, former Art Director at Sports Illustrated, was well acquainted with the

artist and the body of his work that included his paintings and drawings of sporting events and

he also developed a lifelong friendship with the artist getting to know him on a personal level.

Gangel says of his work, “He brought the same high standards and integrity to his

commissioned assignments that he gave to his personal artistic expression… [h]e brought to

these sports portfolios his gifts of the superb draftsman and the keen observer. His finished

paintings were accomplished through his private vision which reminded me of some strange

inner lens that only he could call upon.” That “inner lens” manifested itself in the technique he

honed while exploring his calling towards a new artistic direction for his quest for a way to

express “realism” as he envisioned it---a blend of cubism, photo realism and a touch of modern

art. He was especially interested in showing motion and sequencing of time. (Douglas

Gorsline: An Illustration Retrospective)

Gangel also visited Douglas and Marie Gorsline in France after Douglas acquired an

apartment in Paris and bought “a beautiful stone farmhouse and studio” in Burgundy near Dijon

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in the 1960s. Gorsline from that point on lived the rest of his life in France and Gangel would

visit him in Paris and other parts of southern France whenever his work took him to that country

--- often the two would meet at a café off the harbour in Cannes “to talk art into the early dawn.”

He says of Gorsline‟s ideas during these discussions, “Gorsline‟s ideas were the stuff of high

intelligence and reflected the vision of an artist curious and opinionated about the world around

him. He never worried about the difference between fine art and illustration. His concern was

about producing art of very high quality, which functioned beautifully as visual journalism.”

(Douglas Gorsline: An Illustration Retrospective)

Ole Risom, an Associate Publisher in the Juvenile Division at Random House

Publishing, also enjoyed both a professional and personal relationship with the artist. He writes

of the man and his work:

“Douglas’ quest for excellence was equally evident whether he was tracking down

a restaurant rumored to serve especially good snails, or chasing through Burgundy

after a new Beaujolais and a good picnicking spot to drink it. When Marie served

lunch on the tailgate of their (very Old) Citroen station wagon, all was well with world

for all of us.” Marie shared with our NCSU Study Abroad group her fond memories

of accompanying Douglas as he travelled about looking for interesting people and

landscapes to paint. She described that car as his “travelling studio.” One of the

things that most attracted her to the man and his work was how quickly and

completely using such painstaking detail he could sketch out or paint an image or

scene. Risom also spoke of the strengths and talents that set Gorsline’s work apart

from others, “His visual memory was phenomenal and his desire for accuracy and

quality insatiable…Douglas Gorsline was an extremely knowledgeable,

accomplished craftsman, as well as a gifted and inspired artist. In all his work he

pressed himself tirelessly to do his very best, and most often it became the very

best.”

Douglas was the first American artist to be invited to People‟s Republic of China (1973)

to paint and discuss his techniques. He produced detailed paintings filled with the images of the

Chinese people who lined the streets as he entered the city. Marie recalled that she would take

photos of the crowds which Douglas would later use to populate the paintings for more realistic

detail. (Marie Gorsline interview)

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The Art of Douglas Gorsline

The following images (all except the early etching and engraving) were taken from the photo

gallery of the Gorsline Museum website and the photo notations were Marie‟s comments about

the paintings. The etching and engraving are from the website http://www.uam-

ucsb.edu/Pages/treney/representing-america.

Bar Scene – Female subject seems wistful

and detached from her companion

Express Stop, 1948, etching

Depicts a favorite theme momentary encounters in human lives,

subway scene. His later paintings also carried theme of moment to

moment sequencing of human actions.

Invitation to the Lindy Hop, 1942, etching

This etching shows use of dark and light.

etching, 7 3/8 x 6 1/8, signed

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John with Guitar – This is one of the first paintings created in Douglas Gorsline‟s second style which

was inspired by the chronophotography of Étienne Jules Marey. The idea is to decompose the

movements of a subject‟s actions. In this work Douglas created a sequence of images of his son John

playing the guitar.

Basketball- the New York Knicks. Douglas followed the Knicks from the east coast to the west coast to create this series of paintings on basketball for Sports Illustrated. Willis Reed is featured in this painting.

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Dude Descending – painted as a play on words of Duchamp‟s Nude Descending as a joke for his friend

the artist. (Marie is his “dude” in the painting.)

Sunglasses - Douglas and I had just seen exhibitions of POP ART in New York; at the same time

Douglas was amused by the clothes young people were wearing there. He asked me to put together a

similar costume. I did! So Douglas painted me like this. Isn‟t it droll? The only person who didn‟t like it was

my mother. “That just isn‟t my daughter!”

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Homage to Joachim - This painting shows Douglas‟ interest in Joachim Bonnemaison‟s photographs,

and that of both artists, in the Burgundian skies and countryside. Douglas copied a series of panoramic

views he chose from various photographic works created by Joachim thereby creating a new composition

in his honor. The museum presented an exhibition of Joachim‟s work in 2001.

Swiss Orchard - A friend created a large living room out of a barn attached to her house, installing

windows on the side overlooking the Alps and Mont Blanc. Douglas used the sequences defined by the

curtains and the metallic structure of the windows to show the movement of passing time and changing

weather.

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(Note: This is one of my personal favorite Gorsline paintings. I love cubism the way he expresses it.)

Homage in Juan Gris - This painting expresses Douglas‟ admiration for Juan Gris and Cubism. At the

same time it is a declaration: I do admire Cubism greatly but I am not a cubist; while I use cubist

compositional approaches I create my objects in the round with an eye for realism.

Inner Mongolian Welcome - We saw this scene in Inner Mongolia, but our car passed so quickly that I couldn‟t even photograph it. Douglas said I should just take lots of photos of people while we were there and that he would be able to reconstitute this animated crowd in his studio on our return to France.

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Venice Observed - This watercolor was painted in Venice; we moved from site to site. I am the tourist;

some of the images of me were done later when we returned to Bussy

Dijon Déjà Vu - Douglas was the first artist invited to create a portrait of the city of Dijon. That was in

1979; the series continues to this day. The idea of a frieze showing me as a tourist was first used in

Venice Observed.

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Eye of Device (Camera’s Eye) - Douglas turned around a table that held one apple one box, etc. He painted each as a sequence of displaced views accenting light effects, textures and reflections. Among the latter can be noted a miniature self-portrait in the sunglasses. (This is one of my personal favorite paintings.)

Self Portrait (1983)

“Most of his self portraits give the

impression that he is questioning

himself”

You, Yourself Marie

“rare one who doesn‟t show her reality to him”

“There are several portraits of me in the museum

because I was always with Douglas. This is one of the

rare ones that doesn‟t show me reading aloud to him.”

-Marie Gorsline

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Piazza di Cestello - Douglas painted this watercolor of Florence for himself choosing a subject that was

not a tourist‟s landmark. He was struck by the contrast of the texture of these worker‟s houses with the

bright metallic surfaces of the cars, and the fact that the combination was set off by the superb sky.

Preserving and Honoring Gorsline’s Body of Work

Madame Gorsline, a very gracious and charming woman, has devoted her life to

preserving and honoring the work of her husband through the Musee Douglas Gorsline located

on the pastoral farmlands in the Burgundy region outside Paris where they lived and worked

together. The museum houses original works from all the artist‟s creative genres as well as

some works by prominent colleagues with whom he forged lifelong friendships and/or working

relationships. Marie and her assistant at the museum have also recently launched a travelling

museum exhibit that goes to schools, nursing homes and other places that are not normally

exposed to the arts on a regular basis. Says Marie: “A special effort has been made to

introduce the children of the area to the pleasures to be found in experiencing the world of

creativity.” (Marie Gorsline interview)

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The de Grummond Collection, McCain Library and Archives, University Libraries,

University of Southern Mississippi, holds a collection of original materials for five books Gorsline

wrote or illustrated. These books carried an American history theme. The works include:

Citizen of New Salem (1961), about the life of Abraham Lincoln (includes 23 original Gorsline

illustrations); Farm Boy (1950), a book he wrote and illustrated; They Had a Horse (1962), about

early American settlers; The Vicksburg Veteran (1971), a fact-based diary of Ulysses S. Grant‟s

son on the 1864 Vicksburg campaign. Gorsline‟s sepia-tone illustrations in this book evoke Civil

War era photography; William Henry Jackson, Pioneer Photographer of the West (1964)

(www.usm.edu)

East Carolina University in Greenville, North Carolina houses Manuscript Collection

#901 at Joyner Library. The Douglas Gorsline Collection (1962-1965, undated) consists of

correspondence between Douglas Gorsline and Marcel Duchamp, transcripts of Duchamp-

Gorsline interviews, notes on the interviews by Marie Gorsline and a lithograph (undated) of a

bearded man wearing glasses, signed in pencil, entitled Moi meme [My Self] Douglas Gorsline.

(www.ecu.edu)

In 1981, Pierre Bouhin produced a film on the artist entitled “Blue-like and Orange.”

Gorsline‟s art can be found in several public and private art collections including: the Library of

Congress, the Carnegie Institute, the Corcoran Art Gallery and the Chicago Art Institute.

According to an article found online at http://www.metronc.com, “Secrets of State,”

“The Foundation of Renewal for Eastern North Carolina (FoR ENC) has received a

gift consisting of the major assets of the estate of the late Douglas Gorsline,

American artist and illustrator, and his wife, Sally Marie Gorsline. Marie Gorsline, a

U. S. citizen who resides in Paris and Bussy-le-Grand, France, has created a

charitable remainder trust with FoR ENC serving as trustee and remainder

beneficiary. Among the trust assets is the Musee Gorsline in Burgundy, a museum,

gallery and performance space to be developed primarily for study and use by

students, faculty and constituents of the 36-member institutions of the Higher

Education Consortium for Eastern North Carolina, which is sponsored by FoR ENC.

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The museum will also encourage residential study with statewide and national

institutions and will present exhibits and concerts. The trust assets, valued at $5

million, include an extensive collection of the works and copyrights of Douglas

Gorsline. Marie Gorsline founded the Musee Gorsline in 1994 to preserve her

husbands works and his memory. Douglas Gorsline (1913-1985) is perhaps best

known in the Tar Heel state for illustrating North Carolina novelist Thomas Wolfes

Look Homeward, Angel. As the principal illustrator for the publisher Charles

Scribners Sons, Gorsline created commissioned works for leading literary

periodicals, as well as for Scribners publications, including the works of Wolfe, F.

Scott Fitzgerald, Ernest Hemingway and Marjorie Kinnan Rawlings. Gorslines

illustrations of Clement Moores The Night Before Christmas stand as a timeless

American classic.”

(reprint of article)

Marie is also working on a cooperative mission with North Carolina State University

whereby she will make available her farmlands housing the museum to the University for a

Satellite Campus that would allow an exchange of students between France and the United

States to study art and society. If the plan is agreed upon and finalized by the university, NC

State students would have the opportunity to be housed in a dormitory on the farmlands and

commute to nearby Dijon for university classes.

Having seen the setting on a first hand basis, I know this would be an amazingly

enriching opportunity for both the university and for the fortunate students from the university

choosing to take advantage of the Study Abroad opportunity.

As a one-time prospective undergraduate art major myself who also had a keen interest

in photo realism, but not much interest in cubism, I discovered a new appreciation for realistic

painting and a first time appreciation for cubism---at least for cubism as expressed on the

canvasses of Douglas Gorsline---from observing and researching his work. I have begun a

modest collecting of some of his work (copies of five of the children‟s books signed by Marie, a

copy of What People Wore, a DVD on Gorsline from the Gorsline museum and a copy of the

1947 edition of Charles Scribner Sons publication of Look Homeward Angel that includes the

Gorsline illustrations). I am inspired by the man and his work to explore my artistic inclinations

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again and to spend more time studying and appreciating the works of fine artists, such as

Douglas Gorsline.

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Bibliography

Douglas Gorsline (promotional brochure for the Musee Gorsline)

Douglas Gorsline: An Illustration Retrospective, Society of Illustrators Museum of American

Illustration, October 20-November 25, 1987

http://austenprose.wordpress.com/2008/06/14/austen-illustrator-douglas-warner-gorsline/

http://en.wikipedia-org/widi/Douglas-Gorsline

http://www.answers.com/topic/douglas-gorsline

http://www.artcyclopedia.com/gallery/gorsline-douglas.html

http://lib.usm.edu/~degrum/html/research/findaids/gorsline/htm

http://www.ecu.edu/cs-lib/Reference

http://www.musee-gorsline.com

http://www.printdealers.com/content/node/913

http://www.uam-ucsb.edu/Pages/treney/representing-america/4x5/gorsline-express-4x5.html

Interview with Marie Gorsline, Paris, France, June, 2009

The International Fine Print Dealers Association, New York, NY

Via, Marie, Douglas Gorsline, http://mag.rochester.edu/seeingAmerica/essays/62.swf