MONOTYPES MONOTYPES

MARC SCHMITZ

Druckwerkstatt Künstlerhaus Bethanien Berlin

editions from 2013 -2015

„If you know what you‘re doing, you‘re wasting your time.“

- Buckminster Fuller Monotypes An Abundance of Joy In owing to whichever gradation or hue this experiment. The artist has not spectator is denied literary reference resultant from the simplest of print succumbed to absolutism nor embraced and left to interpret in a relatively making technology, they are envisioned the parameters of minimalism, rather, “oblivious 1” manner. Several, bearing upon archival Bristol carton in optimal sought to deliberate the rudimentary names which refer to seasonal change, (all 100 x 70 Pantone / Steinbacher). basis of colour beyond configuration. Due infer that the artist has opted for a to the technical pull of the apparatus, the reasoning of a chronological fascinus As an apart, in the literal sense, of former sheerness of saturation fades in slight which incurs the latency of historico- (indent: “In contrast to) oil works which as we are drawn from the central fore of socio tradition in their indication of echo themes closely related to poetical each print, an absent “line” demarcates leitmotif/symbolic passage of time. inference and literati allegorical symbol, and seperates the visual composite due For an artist who has proven to be as the monotypes assume a categorical to process itself, while in fact, it works A manifest dedication to color, the polyvalent as Marc Schmitz, whose “otherness” for the artist. The “other” to complement the visual schemata. series aspires to enliven the joy of chief operations lies within conceptual in question is where philosophical life within their naïve employ, both and philosophical frameworks, the connotations to nature achieves Initiated in 2013, Marc began to develop exquisite given their aesthete quality and appearance of a series of bi-chromatic/ resplendance: colorist spectrum delivers his own technique of printing in the profound within a prominent simplicity. tri-chromatic monotype prints might an intense visceral impact and silences Berlin printworkshop Bethanien, which disarm those accustomed to more premeditations ascribed to the intellect. is one renowened, to experiment Poetical inference and literati allegorical visually complex creations. The Thus bereft of discursive elements, allegory with an offset machine by overlying symbol, one could just enjoy color, works resonate with poetical beauty, or symbolic referentiality, the concept layers of prints to receive the blur at imagine a gazeous state or even the fruit of the random of creation. of the contemporaneous in practice the edges, that he is interested in. of take the works as decoration. Simply is reduced to a plane of visual tension. the most these derivations of gaiety and the clearness of the single prints by Void of figurative relief, the series are in This dynamic, visually reductive rather spontaneity have been widely exhibited, pointing out a very specific coming fact the result of a simplified mechanical than minimalist in intent, offers works chiefly, between Shanghai, Tianjin together of at least two shapes of color. process, colour saturation combined with which are both exquisite and profound. and the critically acclaimed a non-linear composition allows for one The spectrum yields minor gradations Nakanojo Bienniale in Japan. The to absorb the primacy of emotive impact. due to the process orientation of greater number untitled, it appears the R.A. Suri signature is left to one where the

All monotyps are unique original art works printed with Pantone / Steinbecker on Bristol carton, each 100 x 70 cm. All Monotyps where created at the printworkshop Künstlerhaus Bethanien in Berlin Kreuzberg, Germany.

The monotyps have been exhibitted internatioanlly as in TEDA contemporary art museum Tianjin, Goethe institute Hong Kong, Galerie Seitz & Partner Berlin, moproo shanghai, Nakanojo Biennial Japan, Art Changdu and Madrid, beside others.

All rights reserved. No part of this book might be reproduced or transmitted in any form or by any means, including but not limited to photocopyin, transcribing or by any information storage and retrieval system, without written permission from the publisher.

© of all the pictures Marc Schmitz text by Rajath A. Suri, Beijing 2016 published by Kunstforum Berlin printed spring 2016 represented by moproo Shanghai Seitz & Partner Berlin both monotype and monoprint. Monoprint, she Rembrandt created monoprints where he WHAT IS A Is it a monoprint or a monotype? Many defined as „a unique image where part of the changed day and night through the manipulation publications use the terms interchangeably image is repeatable on a fixed matrix and part of the wiping of the plate, which had an etched MONOTYPE referring to works on paper as either is not.“1 For monotype, she defined it as „Éa image. Castiglione however in his quest for monoprint or monotype regardless of how unique image where none or the image is from created tone in printmaking made some 22 the images were created. This in turn leads a registered, repeatable matrix.“2 This definition known images where he separated the bitten to confusion among printmakers, artists as has become the standard for distinguishing line from the plate tone to become the first well as the general public. We hope to clarify the two techniques. This definition is however, practitioner of the monotype process. The Text by William Jung this by first exploring the historical aspects difficult to apply to new and inventive ways of monotype process however was not picked of the monotype, some of its techniques printmaking. Monotypes may be somewhat up by any major artist of any significance for and what is happening with this technique/ misleading because 2nd or 3rd images can years to follow. Somehow the uniqueness medium in the contemporary art scene. often be pulled, called „ghosts“, „cognates“ of this particular printing process was not or „second pulls“. Although much less intense favored over the ability to mass-produce Historically what has come down to us as than the original they tend to be more subtle, images using other printmaking processes. monotypes/monoprints were in existence lighter and more atmospheric, characteristics since the time of Rembrandt (1606-1669). which are often more desirable that the first pull. The only major artist prior to Degas (1834- The monotype/monoprint was referred to 1917) to pick up on the monotype process was subsequently by many different names such William Blake (1757-1827) who appeared to as: Adam Bartsch (1821) print cataloguer called use it with egg tempera to create some of his the technique, „imitating aquatint“, Edgar images for his poems. Probably using a screw Degas and Paul Gauguin called them „printed press he printed his plates which were of stiff drawings“, in the 1880‘s-1890‘s they were HISTORY cardboard where he had used egg tempera, a referred to as monotones or monochromes, also water medium as opposed to an oil medium Monotypes are usually made by either painting around the 1880‘s artists in the circle of Frank to paint the outlines of his designs. He then or rolling inks onto a flat surface. This flat Duveneck in Florence and Venice called them painted broad areas of color onto the rest of surface can be glass, Plexiglas, or sheet „Bachertypes“ because they were printed by the board and printed over the initial outlines. metal (etching plate). With the application Otto Bacher on his portable press. Similarly the He may have gotten as many as 3 impressions of pressure the image will transfer onto the American illustrator William H. Chandlee who Historically the first monotype was attributed from each ink up and with these he worked paper. Pressure can be the use of an etching or made monotypes on a glass surface, called his to Giovanni Benedetto Castiglione (1616-1670) over using pen and watercolor. His technique litho press, or hand pressure with a Pinpress, prints „vitreographs“ signifying glass prints, a contemporary of Rembrandt (1606-1669). with which he was quite secretive never quite barren or any other means that will exert just as „lithographs“ were printed from a stone. Both artists were painter-etchers, Rembrandt caught on either because of this secrecy or enough pressure to make the image transfer. van Rijn in Amsterdam and Giovanni Benedetto perhaps because he was out of the mainstream Around 1960 Henry Rasmusen, author of Castiglione in Genoa. Both artists were at the time. It was not until the etching revival of The ink used in a monotype can be applied the first important book on the monotype 2, experimenting with the printing process to the 1860‘s that the monotype was also revived. with a brush, rag or rolled up with a roller or Printmaking with Monotype wrote that some create a tonal effect akin to their paintings. brayer. During the printing process depending artists preferred the term monoprint as a way to Although mezzotint was already invented it was During the etching revival Vicomte Ludovic on the method of application and the thickness distinguish it from the commercial typesetting still in its infancy and neither artist chose this Napoleon Lepic (1839-1889) used a process he and texture of the ink, the ink may spread method known as monotype. Later on in 1975 particular path. Instead Rembrandt chose to called, „l‘eau-forte mobile“ (variable etchings) and blur as it is blotted or absorbed by the David Kiehl, a print curator suggested a difference leave film of ink on selected parts of his etched where he used one set of an etched image of a paper. Usually the paper is placed on top of between monoprint and monotype. Monoprint plates to create tone while Castiglione chose to landscape and created 85 dramatic variations on the plate used and the transferred image is according to Mr. Kiehl was a unique image pulled draw into ink that was spread on a copperplate the basic composition simply by the wiping of a mirror image of the original. How the ink is from an engraved or etched plate. Subsequently to create the first true monotype. It is believed his plate. He advocated that the artist who used applied and manipulated with all of its individual Jane Farmer an independent curator wrote that there was perhaps some cross-fertilization etching should be a painter or draughtsman characteristics will be reflected in the print, in 1978 in the monotype exhibition catalogue of ideas in that seeing some of Rembrandt‘s who uses the needle and the rag as another which is what makes monotypes so unique. which she curated the following definitions for etchings might have influenced Castiglione. uses the paintbrush and pencil. Lepic claimed to have single-handedly inspired a new course art teacher was instrumental in popularizing restlessness. It also became a perfect tool and its beginnings has not been taught as for modern printmaking. „I claim authorship for the process. Charles A. Walker (1848-1920) for exploring improvisation. Historically the much as rediscovered and reinvented by ‚variable etching‘, that is for the labor of art that appeared to have discovered the technique first monotype by Castiglione was in the dark each artist who uses it. The artist in turn permits us to break with common practices and of monotypes independently of Chase and field also known as reduction or subtractive emdows the technique with his or her obtain such results with the liberty of ink and Deveneck. His main subjects were landscapes monotype. The basic technique entailed the own style, technique and artistic concerns. rag. Besides, regarding its exclusive control, and imagery from the Barbizon school. Of the rolling up of a non-porous surface and in the case without their having to ask for it and even to four the only one to really integrate into his of Castiglione most likely a copperplate normally The question arises as to why a monotype and those publishers of engraving who might request „art“ was Maurice Prendergast (1859-1924) used for etching at the time, with printing ink. not a painting or watercolor? Why a „print“? it, I bequeath my rag to all artists.“3 His prints who created over 200 monotypes. He exhibited Most likely it was first printed in the same The answer may be that a great deal of surprise were monoprints and not true monotypes, but and sold his monotypes throughout his career manner as the etched plate due to its historic is built into the printmaking process where the his etchings were so minimal and the attempts and although his monotypes were both well relationship to the etching with damp paper and image is: reversed, the image varies depending at creating paintings on the surface of the plate known and received there were few imitators. an etching press. Similarly the plate was most on how it‘s inked, how much pressure is applied, so ingenious that he is mentioned because likely prepared in much the same manner as an is it printed by an etching press or by hand using a of his influence on future artists like Degas. The monotype process continued to grow both intaglio plate before „wiping“. In the dark field baren? There are a lot of unpredictables involved in Europe as well as in the United States. The or reductive method the image is wiped with and the spontaneity of the process demands Edgar Degas (1834-1917) picked up the „rag“ „drawback“ with monotypes was that there rags, finger or sticks which may very well have energy, improvisation, gesture, expressiveness bequeathed by Lepic to become the greatest was no continuing history or tradition and that been the back of paintbrushes that can be used and directness. The artist must also appreciate innovator and practitioner of the monotype in each artist seemed to discover and rediscover later to brush back into the image, to correct the lushness and sensuality of working with ink. the nineteenth century. Edgar Degas by pushing the medium over and over again in his or her an edge or build tone. The removed or wiped the technique further than any artist before him way. Many artists began experimenting with areas would appear white in the finished print. made the monotype a more acceptable medium. the process like: Pablo Picasso (1881-1973) He took advantage of the spontaneity of the who created over 100, Georges Roualt (1871- The second method that was probably medium and used it to its full potential, accidents 1958), and Henri Matisse (1869-1954). On the realized from trial and error was that you CONTEMPORARY MONOTYPES and all. He experimented with the medium/ American side there was: Milton Avery (1893- can also approach the monotype from the technique to seek solutions to problems, 1965), Adolph Gottlieb (1903-1974), Richard additive or „light field“ manner. Here a clean which could not be fully explored with pencil or Diebendorn (b.1922), Robert Motherwell plate is used as an empty field or canvas and brush. As a result of this search, Degas created (b.1915), Mary Frank (b.1933), Nathan Oliveira printing ink is applied much like oil paints. some 300-500 monotypes. Degas‘ enthusiasm (b.1928), and Jasper Johns (b.1930) to name a While the ink was quite thick and viscous in The idea of the monotype as being a „bastard affected other contemporaries who also few of the better known contemporary artists. the dark field monotype, in the light field it is child“ is no longer the prevalent case and has explored the technique: Camille Pissarro, Mary It is beyond the scope of this paper to include thinned with solvent making the ink resemble instead become the „favorite son“. Perhaps Cassatt, and Paul Gauguin to just name a few. everyone who has done a monotype, but two something like watercolor. Where more tone it is the changing of the times. Much like the books which are very good references are the was desired more ink was added, when softer etching revival of the 1860‘s there is a revival In America the main practitioners of the monotype Metropolitan Museum of Art‘s The Painterly tones were desired, more solvent was used. of the print by the artist. There are similarities were Frank Duveneck, William Merritt Chase, Print: Monotypes from the Seventeenth to the because the wiping of a monotype plate had Charles A. Walker, and Maurice Prendergast. Twentieth Century and Joann Moser‘s Singular Intrinsic to monotype is the bit of ink left over to done by the artist, since the process of Frank Duveneck (1848-1919) fame is owed to Impressions: The Monotype in America. after the 1st print is taken. Second and even creating the image and the art of wiping the great part to the survival of his monotypes in third pulls result in fainter images known as plate were identical. The idea of the artist Boston and Cincinnati and the documentation „cognates“, or „ghosts“. While all printing manipulating the ink over the plate with their of his followers/students of their „bachertypes“ TECHNIQUE processes can yield lighter impressions fingers and leaving their fingerprints have done in Venice and of their encounters with their ghosts in monotype play a special become a visual testimony to the artist‘s Whistler who may have been introduced to role because they create a new set of tonal personal involvement in the printing process, the monotype by them. William Merritt Chase values, which can be, reworked or merely not to mention leaving their actual fingerprints. (1849-1916) a painter and teacher who although used references for the next image or series. Monotypes are primarily a painter‘s medium. was not the first to exhibit the monotype in Milton Avery made some 250 monotypes Although it originated in the printshop it was America was a fashionable painter and as an The technique of monotype is quite varied during the 1950‘s, which he exhibited. born through the painter‘s imagination and Although opening to critical reviews not one Blake and Gauguin in exploring the use of a neration of Artists like Michael Mazur, Richard piece sold. Apparently the hybrid nature of the water based medium to execute monotypes. Diebenkorn and Nathan Oliveira. The monotype monotype and the lack of an edition turned off Similarly artists are seeking less toxic ways to has managed to maintain its momentum and collectors of prints. Painting collectors were not approach printmaking and monotype is one area has even managed to achieve its own websi- interested because they viewed the monotype where that is quite easy. Much like Milton Avery te, www.Monoprints.com. So, we guess it is as a print. Recently, however Milton Avery‘s who took up the monotype in the 1950‘s after safe to say that the monotype will continue to monotypes as well as monotypes by other a heart attack or Adolph Gottlieb in the 1970‘s grow and evolve even as we write this paper! artists have been enjoying unprecedented when his health began to decline or Reuben popularity. Artists who have never printed Kadish in the 1980‘s when their health declined, monotypes are trying it and those that have artists of the 1990‘s are actively seeking easier been printing monotypes are exhibiting them. ways of creating prints like monotypes without having to wait until their health declined. The rediscovery of the monotype appears to have been greatly influenced by both the A fairly recent innovation involving monotypes showing of 78 of Degas‘s monotypes in 1968 has been the creation of the Monothon by Mas- by Eugenia Parry Janis and the subsequent ter Printer Ron Pokrasso, which harks back to Notes About the artist: catalogue , which reproduced more than 300 of Duveneck (1880‘s), and his „boys“ where mo- his monotypes. Of equal importance was the notypes were created as recreation during large 1 Moser, Joann. Singular Impression: The exhibition organized by Matt Phillips in 1972, The gatherings. In the case of the Monothon artists Monotype in America,(Washington, D.C.:The Marc Schmitz Monotype: An Edition of One which traveled are invited to create monotypes. There is a fee, Smithsonian Institute Press, 1997) p. 2 throughout the United States. Artists that were but a sponsor can cover this. At the end of the is a conceptual artist and iniciator of Land Art influenced by one or both were numerous. Monothon printing sessions one print of each 2 Ibid., p.2 Mongolia. He studied Philosophy and Fine Of note were Nathan Oliveira, Michael Mazur, artist is chosen and the prints are both displayed Art in Munich and Berlin. Marc participated and Richard Diebenkorn. Not only were these and auctioned off. There have been Monothons 3 Metropolitan Museum of Art. The Painterly in Busan Biennial 2004, Beijing Biennale the successful artists but they were also teachers in Sante Fe, New Mexico where it started to Print: Monotypes from theSeventeenth to the Sculpture Quadrennial in Latvia and exhibited and educators. Their taking the monotype as a California and most recently at the Connecticut Twentieth Century, (New York: The Metropoli- internationally at the Zendai MoMA in Shanghai serious medium could only have enhanced its Graphics printcenter in Norwalk, Connecticut. tan Museum of Art ,1980), p. 19 4 Ibid., p. 23 and Concert Hall Perth on the occasion of a concert acceptance not only amongst the artistic crowd, Researching and reading about the history as Bibliography by the Berlin Philharmonic Orchestra(solo) but perhaps a whole generation of artists who well as the techniques involved in creating a mo- beside others, and was residence artist on studied under them either directly or indirectly. notype has been tremendously enlightening. Ayres, Julia. Monotype: Mediums and Me- several occasions in Korea, at Peace Art Hotel Much like other painter/printmakers we thought thods for Painterly Printmaking. Shanghai or Goethe Institute Hong Kong. Jasper Johns was also one of the artists to we had stumbled upon this painterly printing New York: Watson-Guptill, 1991 realize the potential of the monotype as a technique all on our own. Instead, we learned Laliberte, Norman /Alex Mogelon. The Art of 2013 Marc Schmitz was presented at creative medium. His early forays into the that the monotype has been around as long as Monoprint: History and Modern Venice Biennial in Giardini and 2015 at medium were as result of his taking his the 1640‘s when both Rembrandt and Castig- Techniques (New York, Van Nostrand Reinhold Trio Bienal Rio de Janeiro and Nakanojo discarded lithographs ( which he was probably lione, painter/printmakers were experimenting Company, 1974) Biennial Japan and at a solo exhibition, working with a master printer) and killing time with creating tone in their etchings. Further re- Metropolitan Museum of Art. The Painterly TEDA Contemporary Art Museum Tianjin. by printing his own monotypes/monoprints search introduced us to the monoprinter Vicom- Print: Monotypes from the Seventeenth to the over the „flawed“ lithographs. This is quite te Ludovic Lepic, the „queer fish“4 as referred Twentieth Century, (New York: The Metropoli- He was awarded with the first prize for Art For reminiscent of the etching revival when artist to by Degas who bequeathed his „rag“ to all, but tan Museum of Art ,1980) Expo 2000 World Expo and with the prize of wanted to reclaim the print by freeing it it was Degas who realized the potential of this Moser, Joann. Singular Impression: The Mono- the jury at the 10th Cairo Biennial, amongst up from the craftsman, i.e.: master printer. „rag“ and ran with it. Interestingly these „pain- type in America, (Washington, D.C.:The Smith- others. His work is represented in international ted drawings“ were never exhibited widely if at sonian Institute Press, 1997) collections such as National Art Gallery Beijing, In our own quest in creating „the painterly print“ all during Degas‘ lifetime, but somehow they swatch collection Shanghai or WSI N.Y. we have searched along the lines of William managed to survive to inspire yet another ge- © 1999 Rostow & Jung All Rights Reserved.