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Artist, scholar, writer, and educator, Clinton Adams (1918-2002) was recognized as one of the most important influences on the development of fine-art printmaking in America. He was one of the founders of the renowned Tamarind Institute, instrumental in reviving the art of lithography. Adams was also a prolific printmaker himself. His work was characterized by a mix of traditional representation and modernist abstraction, rendered, as the title of this catalogue suggests, with his incomparably meticulous serenity.

Adams had more than thirty solo exhibitions, and his works are in the collections of major museums all over the country. This catalogue raisonn accounts for all of his work and traces the varieties of techniques and collaborations that make lithography a particularly complex medium to keep track of. It also includes numerous comments from the artist about the genesis of the work, the technical challenges he and his printers faced, and his own assessments of quality and significance. A lively biographical essay recalls Adams's extra-artistic skills as well, reminding us that he was a great administrator and teacher, and a formidable poker player.

Art historian Robert Conway is also the author of books on June Wayne and George Bellows.

David Acton has been curator of prints and drawings at the Worcester Art Museum in Massachusetts since 1986 and has also served as curator of photographs since 1996. A well-known scholar of American prints, he has written extensively on Old Master prints and drawings, and is also the author of A Spectrum of Innovation: Color in American Printmaking 1890-1960, The Stamp of Impulse: Abstract Expressionist Prints, and Keeping Shadows: Photography at the Worcester Art Museum.