A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium
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Digitalisation: Re-Imaging the Real Beyond Notions of the Original and the Copy in Contemporary Printmaking: an Exegesis
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2017 Imperceptible Realities: An exhibition – and – Digitalisation: Re- imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis Sarah Robinson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Printmaking Commons Recommended Citation Robinson, S. (2017). Imperceptible Realities: An exhibition – and – Digitalisation: Re-imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis. https://ro.ecu.edu.au/theses/1981 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1981 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). -
AQUATINT: OPENING TIMES: Monday - Friday: 9:30 -18:30 PRINTING in SHADES Saturday - Sunday: 12:00 - 18:00
A Q U A T I N T : P R I N T I N G I N S H A D E S GILDEN’S ARTS GALLERY 74 Heath Street Hampstead Village London NW3 1DN AQUATINT: OPENING TIMES: Monday - Friday: 9:30 -18:30 PRINTING IN SHADES Saturday - Sunday: 12:00 - 18:00 GILDENSARTS.COM [email protected] +44 (0)20 7435 3340 G I L D E N ’ S A R T S G A L L E R Y GILDEN’S ARTS GALLERY AQUATINT: PRINTING IN SHADES April – June 2015 Director: Ofer Gildor Text and Concept: Daniela Boi and Veronica Czeisler Gallery Assistant: Costanza Sciascia Design: Steve Hayes AQUATINT: PRINTING IN SHADES In its ongoing goal to research and promote works on paper and the art of printmaking, Gilden’s Arts Gallery is glad to present its new exhibition Aquatint: Printing in Shades. Aquatint was first invented in 1650 by the printmaker Jan van de Velde (1593-1641) in Amsterdam. The technique was soon forgotten until the 18th century, when a French artist, Jean Baptiste Le Prince (1734-1781), rediscovers a way of achieving tone on a copper plate without the hard labour involved in mezzotint. It was however not in France but in England where this technique spread and flourished. Paul Sandby (1731 - 1809) refined the technique and coined the term Aquatint to describe the medium’s capacity to create the effects of ink and colour washes. He and other British artists used Aquatint to capture the pictorial quality and tonal complexities of watercolour and painting. -
Full Press Release
Press Contacts Patrick Milliman 212.590.0310, [email protected] Alanna Schindewolf 212.590.0311, [email protected] THE MORGAN HOSTS MAJOR EXHIBITION OF MASTER DRAWINGS FROM MUNICH’S FAMED STAATLICHE GRAPHISCHE SAMMLUNG SHOW INCLUDES WORKS FROM THE RENAISSANCE TO THE MODERN PERIOD AND MARKS THE FIRST TIME THE GRAPHISCHE SAMMLUNG HAS LENT SUCH AN IMPORTANT GROUP OF DRAWINGS TO AN AMERICAN MUSEUM Dürer to de Kooning: 100 Master Drawings from Munich October 12, 2012–January 6, 2013 **Press Preview: Thursday, October 11, 10 a.m. until 11:30 a.m.** RSVP: (212) 590-0393, [email protected] New York, NY, August 25, 2012—This fall, The Morgan Library & Museum will host an extraordinary exhibition of rarely- seen master drawings from the Staatliche Graphische Sammlung, Munich, one of Europe’s most distinguished drawings collections. On view October 12, 2012– January 6, 2013, Dürer to de Kooning: 100 Master Drawings from Munich marks the first time such a comprehensive and prestigious selection of works has been lent to a single exhibition. Johann Friedrich Overbeck (1789–1869) Italia and Germania, 1815–28 Dürer to de Kooning was conceived in Inv. 2001:12 Z © Staatliche Graphische Sammlung München exchange for a show of one hundred drawings that the Morgan sent to Munich in celebration of the Staatliche Graphische Sammlung’s 250th anniversary in 2008. The Morgan’s organizing curators were granted unprecedented access to the Graphische Sammlung’s vast holdings, ultimately choosing one hundred masterworks that represent the breadth, depth, and vitality of the collection. The exhibition includes drawings by Italian, German, French, Dutch, and Flemish artists of the Renaissance and baroque periods; German draftsmen of the nineteenth century; and an international contingent of modern and contemporary draftsmen. -
ARTIST Is in Caps and Min of 6 Spaces from the Top to Fit in Before
PAUL BRIL (Antwerp c. 1554 – 1626 Rome) A Landscape with a Hunting Party and Roman Ruins On canvas, 27¾ x 38 ¾ ins. (70.5 x 98.4 cm) Provenance: The Duke of Sutherland, Dunrobin Castle, by 1921 By whom sold, Christie’s, London, 29 November 1957, lot 31 Where purchased by Thos. Agnew & Sons, London Denys Sutton (1917-1991), London Thence by descent to the previous owner Exhibited: Thos. Agnew & Sons Ltd., London, 1958 Ideal & Classical Landscape, National Museum of Wales, Cardiff, 6 February – 3 April 1960, cat. no. 18 L’Ideale classico del Seicento in Italia e la pittura di paesaggio, Bologna, 8 September – 11 November, 1962, cat. no. 124 Literature: The Duke of Sutherland, Dunrobin Castle Catalogue, 1921, no. 253 Art News, April 1958, vol. 57, no. 2, p. 4 (reproduced) F. Cappelletti, Paul Bril, et la pittura di paesaggio a Roma 1580- 1630, Rome, 2005, p. 304, cat. no. 166 (reproduced) Note: We are grateful to Drs. Luuk Pijl for confirming the attribution to Bril, based on photographs. Drs. Pijl dates the work to between 1617-1620 and will include it in his forthcoming catalogue raisonné of Paul Bril’s paintings. VP4601 Paul Bril trained in Antwerp before making his way to Italy sometime before 1582. In Rome, he joined his older brother Matthijs (c. 1550-83), who was already established in the employment of Pope Gregory XIII, producing fresco decorations for the Vatican. Initially, Paul assisted his brother, but after Matthijs’s premature death in 1583, he assumed responsibility for the papal commissions both in the Vatican and in various churches and villas in and around Rome. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Rembrandt, with a Complete List of His Etchings by Arthur Mayger Hind
The Project Gutenberg EBook of Rembrandt, With a Complete List of His Etchings by Arthur Mayger Hind This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Rembrandt, With a Complete List of His Etchings Author: Arthur Mayger Hind Release Date: February 5, 2010 [Ebook 31183] Language: English ***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS *** Rembrandt, With a Complete List of his Etchings Arthur M. Hind Fredk. A. Stokes Company 1912 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 Contents REMBRANDT . .1 BOOKS OF REFERENCE . .7 A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS . .9 Illustrations 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 . vii 1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354. 24 7, I. BEGGAR MAN AND BEGGAR WOMAN CON- VERSING. 1630. B. 164 . 24 20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66 . 25 23, I. BALD-HEADED MAN (REMBRANDT'S FA- THER?) In profile r.; head only, bust added after- wards. 1630. B. 292. First state, the body being merely indicated in ink . 26 38, II. THE BLIND FIDDLER. 1631. B. 138 . 27 40. THE LITTLE POLANDER. 1631. B. 142. 139. THE QUACKSALVER. 1635. B. 129. 164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133 . -
Private Collection of Camille Pissarro Works Featured in Swann Galleries’ Old Master-Modern Sale
FOR IMMEDIATE RELEASE Contact: Alexandra Nelson October 14, 2016 Communications Director 212-254-4710 ext. 19 [email protected] Private Collection of Camille Pissarro Works Featured in Swann Galleries’ Old Master-Modern Sale New York— On Thursday, November 3, Swann Galleries will hold an auction of Old Master Through Modern Prints, featuring section of the sale devoted to a collection works by Camille Pissarro: Impressionist Icon. The beginning of the auction offers works by renowned Old Masters, with impressive runs by Albrecht Dürer and Rembrandt van Rijn. Scarce engravings by Dürer include his 1514 Melencholia I, a well-inked impression estimated at $70,000 to $100,000, and Knight, Death and the Devil, 1513 ($60,000 to $90,000), as well as a very scarce chiaroscuro woodcut of Ulrich Varnbüler, 1522 ($40,000 to $60,000). Rembrandt’s etching, engraving and drypoint Christ before Pilate: Large Plate, 1635-36, is estimated at $60,000 to $90,000, while one of earliest known impressions of Cottages Beside a Canal: A View of Diemen, circa 1645, is expected to sell for $50,000 to $80,000. The highlight of the sale is a private collection of prints and drawings by Impressionist master Camille Pissarro. This standalone catalogue surveys Impressionism’s most prolific printmaker, and comprises 67 lots of prints and drawings, including many lifetime impressions that have rarely been seen at auction. One of these is Femme vidant une brouette, 1880, a scarce etching and drypoint of which fewer than thirty exist. Only three other lifetime impressions have appeared at auction; this one is expected to sell for $30,000 to $50,000. -
Materials for Printmaking
A COMPARATIVE STUDY. OF CONVENTIONAL AND EXPANDABLE ACIn RESISTANT STOPOUT MATERIALS FOR PRINTMAKING A Creative Project Presented to The School of Graduate Studies Drake University In Partial Fulfillment ot the Requirements tor the Degree Master ot Fine Arts by Lyle F. Boone January 1970 A COMPARATIVE STUDY OF CONVENTIONAL AND EXPANDABLE ACID RESISTANT STOPOUT MATERIALS FOR PRINTMAKING Lyle F. Boone Approved by Committee: TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION • • • • • • • • • • 1 The problem • • • • • • • • • • • 1 Definitions of terms used • • • • • • • • 2 Lift-ground • • • • • • • • • • • 2 Ground • • • • • • • • • • 2 Rosin • • • • • • • • • • • 2 Stopout • • • • • • • • • • • • 3 Procedure • • • • • • • • • • • • • 5 II. THE CONVENTIONAL METHOD OF STOPPING OUT • • • 7 Conventiona.1 Uses of Shella.c Stopout with Ha.rd and Soft-ground • • • 8 Conventional Use of' Shellac Stop,·ut with Aqua.tint • • • • • • • • • 13 Conventional Materials for Li.ft-ground • • 18 III. NON-CONVENTIONAL METHODS OF USING EXPANDABLE ACID RESISTANT STOPOUT MATERIALS • • • 22 Non-conventional Stopout with Ha.rd and So.ft ground • • • • • • • • • • • 24 Non-conventional Materials for Aquatint • • • 26 Non-conventional Materia.ls with Lift-ground • • 29 IV. CREATIVE APPLICATION OF FINDINGS • • 38 v. CONCLUSION • • • • • • 52 BIBLIOGRAPHY • • • • • • • 54 LIST OF FIGURES FIGURE PAGE 1. Print Containing Hard and Soft-ground Etching, Aquatint, Copper, Size 8" x 11-1/2". • • • 12 2. Area Indicating Shellac Breakdown, Containing Hard and Soft-ground Etching, Aquatint, Zino, Size 8" x 6" • • • . • • • • • 14 3. Aqua.tint, Hard and Soft-~round Etching on " ff - Copper, Size 8 x 12 •••••• • • 15 4. Print Containing Lift-ground, Aquatint, Hard ft ft ground Etohing, Copper, Size 4 x 6 • • • 20 Print Containing Aquatint, Copper, Size 4 tt x 5" 7. -
A Student Guide to the Use of Soft Grounds in Intaglio Printmaking
A STUDENT GUIDE TO THE USE OF SOFT GROUNDS IN INTAGLIO PRINTMAKING Submitted by Lori Jean Ash Department of Art Concentration Paper In partial fulfillment of the requirements for the degree of Master of Fine Art Colorado State University Fort Collins, Colorado Summer 1984 TABLE OF CONTENTS page List of Illustrations ••••••••••••••••• ii A Student Guide to the Use of Soft Ground in Intaglio Printmaking I. Introduction •••••••••••••••• ........................ 1 II. Materials and Methodology •••••••••••••••• 7 III. Conclusions•••••••••••••••••••••••••••••••••••••••••• 22 Endnotes. • . • . • • . • . • . • . • . • • . • . • • • . • . 23 BibliographY••••••••••••••••••••••••••••••••••••••••••••••••••• 25 ii LIST OF ILLUSTRATIONS page Figure 1: Rembrandt van Rijn, Self Portrait by Candlelight •••••• 3 Figure 2: Jaques Callot, The Lute Player •••••••••••••••••••••••• 4 Figure 3: s.w. Hayter, Amazon ••••••••••••••••••••••••••••••••••• 6 Figure 4: Mauricio Lasansky, Dachau ••••••••••••••••••••••••••••• 19 Figure 5: Mauricio Lasansky, Amana •••••••••••••••••••••••••••••• 20 Figure 6: Mauricio Lasansky, Study-Old Lady and Bird •••••••••••• 21 I. INTRODUCTION With the possible exception of drypoint and engraving, all intaglio processes involve the use of some type of ground. Though this acid resistant material has many applications, it has but one primary function, which is to protect the plate surface from the action of the acid during the etch. The traditional hard etching ground is made from asphaltum thinned with gum turpentine and forms a hard, stable surface suitable for work with a etching needle or other sharp tool. Soft ground has had some agent added to it which prevents it from ever becoming completely hard. It adheres to whatever touches it and can be easily removed from the plate by pressing some material into the ground and then lifting it, exposing the plate in those areas where pressure was applied. -
Science in Culture: a Miracle in Sight
BOOKS & ARTS NATURE|Vol 443|21 September 2006 attempts to address larger themes, however, men — “doctors were determined no scientific Perspective (Harvard University Press, 1986). things do not always go so well. Frequently he discovery would alter their traditional thera- His global characterization of the state of medi- points to missed opportunities to exploit the pies of bleeding, purging, and vomiting” — are cal history strikes me as woefully wide of the implications of technical advances and key crude and unsatisfying. He claims that medical mark — the subtle relationship between sci- discoveries. He cites as examples the long hia- historians have glorified the link between the ence and medicine requires a far deeper under- tus between the discovery of bacteria and the laboratory and advances in basic science but standing than anything on offer here. And his link to infectious disease, and the shorter but overlooked the fact that these discoveries led to assertion that the history of modern medicine still significant gap between the first observa- no immediate therapeutic advance. But this is can be reduced to a paean to scientific progress tions of the antibacterial effects of Penicillium simply false, as would be made clear by a quick is a recipe for bad scholarship, of which there is moulds in the 1870s and Florey’s development perusal of such sources as William Bynum’s already far too much in the world. ■ of a therapy that worked in the 1940s. Science and the Practice of Medicine in the Nine- Andrew Scull is in the Department of Sociology, But Wootton’s attempts to blame these fail- teenth Century (Cambridge University Press, University of California, San Diego, 9500 Gilman ures on the blinkered self-interest of medical 1994) or John Harley Warner’s The Therapeutic Drive, La Jolla, California 92093-0533, USA. -
Printmaking Through the Ages Utah Museum of Fine Arts • Lesson Plans for Educators • March 7, 2012
Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Table of Contents Page Contents 2 Image List 3 Printmaking as Art 6 Glossary of Printing Terms 7 A Brief History of Printmaking Written by Jennifer Jensen 10 Self Portrait in a Velvet Cap , Rembrandt Written by Hailey Leek 11 Lesson Plan for Self Portrait in a Velvet Cap Written by Virginia Catherall 14 Kintai Bridge, Province of Suwo, Hokusai Written by Jennifer Jensen 16 Lesson Plan for Kintai Bridge, Province of Suwo Written by Jennifer Jensen 20 Lambing , Leighton Written by Kathryn Dennett 21 Lesson Plan for Lambing Written by Kathryn Dennett 32 Madame Louison, Rouault Written by Tiya Karaus 35 Lesson Plan for Madame Louison Written by Tiya Karaus 41 Prodigal Son , Benton Written by Joanna Walden 42 Lesson Plan for Prodigal Son Written by Joanna Walden 47 Flotsam, Gottlieb Written by Joanna Walden 48 Lesson Plan for Flotsam Written by Joanna Walden 55 Fourth of July Still Life, Flack Written by Susan Price 57 Lesson Plan for Fourth of July Still Life Written by Susan Price 59 Reverberations, Katz Written by Jennie LaFortune 60 Lesson Plan for Reverberations Written by Jennie LaFortune Evening for Educators is funded in part by the StateWide Art Partnership and the Professional Outreach Programs in the Schools (POPS) through the Utah State Office of Education 1 Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Image List 1. Rembrandt Harmensz van Rijn (1606-1669), Dutch Self Portrait in a Velvet Cap with Plume , 1638 Etching Gift of Merrilee and Howard Douglas Clark 1996.47.1 2. -
DRYPOINT-WOODCUT Always Loved Those Images, and I Wanted to a Certain Amount of Unpredictability Learn from Cassatt’S Process,” Heck Says
that use the symbol of the heart to explore ideas of love and emotion. A somewhat similar approach is taken in the recent Printmaking series “Fascinators,” in which Heck adorns A passion for printmaking unites these four accomplished artists, who her young subjects with headpieces shaped like Möbius strips. each work with a different process. Heck’s work combines two traditional printmaking processes: drypoint, an intaglio process, and woodcut, a relief process. In BY AUSTIN R. WILLIAMS intaglio processes—such as engraving, etch- ing and drypoint—marks are carved into a Printmaking is drawing’s first cousin. In both metal plate using one of several methods. disciplines artists work directly with their hands Those indentations are filled with ink, and to create lines and tones, ultimately resulting in a when the plate is pressed to paper, the ink is finished work on paper. But printmaking involves transferred to the paper. In relief processes, an additional array of tools and techniques that have such as woodcut and linocut, the opposite occurs. In these methods the artist carves fascinated artists for centuries. Every printmaking process offers its own sort of beauty while also away the negative parts of the image and ink imposing certain constraints on the artist. Here we TODAY is applied to the remaining, raised portions explore the work of four printmakers, who share their of the plate, which is then pressed to paper. thoughts on their chosen printmaking processes. Heck was inspired to combine intaglio and relief processes by Mary Cassatt (1844– 1926), who in the late 1800s produced color ELLEN HECK: etchings inspired by Japanese woodcuts that had recently been exhibited in Paris.