James F. Walker (October 8, 1913 – February 5, 1994) was an American graphic artist,[1] twice named to the 100 Best New Talent List by Art in America.

He then moved to New York City, where he studied at the American Artists School and at the studio of Nahum Tschacbasov.

[6] After World War II, he returned to the University of Iowa for an MA in art history and an MFA in studio printmaking.

[1] At that time, he studied under Mauricio Lasansky,[7] considered "one of the fathers of twentieth-century American printmaking.

"[8] Lasansky had brought his printmaking skills and techniques from Stanley William Hayter's New York Atelier 17 to the University of Iowa School of Art and History (1945–1986).

[2][3] Many years later, Santa Fe artist Lorraine Dickinson remembered her time in Walker's drawing and collage classes at the School of the Art Institute.

"[12] He retired from teaching in 1975[1] and moved with his family to Gravette, Arkansas, where he continued to work as an artist until his death in 1994.

Walker combines a spectrum of Lasansky's graphic techniques, including collage, monoprints, aquatint, pencil, brush, rubbings, etchings, and silkscreen.

[4] In a statement to the Chicago Society of Artists, Walker described his own work: My paintings project my intense concern for, and interest in, the nature of texture surfaces within the context of meticulously rendered forms, revealing the essence of Magic Realism, a microscopic view of every infinitesimal area upon the canvas.

He decides that now he must paint with sophistication—rejecting all of his past association with country life, the hills, the trees, the farm animals, etc.

In this work, Duchamp simply painted a mustache and beard onto a postcard reproduction of the Mona Lisa.

[14]A standalone photo in the Chicago Daily Defender called it "a 'kooky' portrait of Dwight D. Eisenhower in a Mona Lisa pose…"[15] According to a caption from UPI Telephotos, Walker "titled it L.H.

"[14] "I found James Walker's collage, Creation of Eve, particularly good with its curious integration of old objects and new movement.