Printmaking Survival Guide Intaglio – Drypoint Shaun Mccallum
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
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. -
In Otherworlds: 18 N
In Otherworlds: 18 N. St. Clair Street, Toledo, Ohio 43604 419-241-2400 18 N. St. Clair Street, Toledo, Ohio 43604 419-241-2400 20northgallery.com — [email protected] Craig Fisher & Dan Hernandez 20northgallery.com — [email protected] July 7 – September 30, 2017 An exhibition of new and existing works featuring fantastical, intricate and meticulously rendered images of mystical, otherworldly themes—all incorporating classical symbolism to reference contemporary thought, culture and technology The intaglio etchings and aquatint prints by Craig Fisher blend classic architectural and landscape imagery that transitions from mechanical to organic to supernatural, on both macro and micro scale. The acrylic and inkjet transfer paintings by Dan Hernandez intermingle the iconic imagery of European Renaissance and classical Asian painters with early video game design, portraying figures engaged in vibrant and energetic conflict. Despite the dramatic differences in media, visual style and subject matter, the works of these two distinguished area artists juxtapose like themes of science & technology with spirituality, as well as the combination of old and new media, to explore the metaphysical concept of the “otherworld”—the varying layers of existence between humankind’s experience of the “real” world and the world of belief. This combination creates an intriguing, thought-provoking and unquestionably beautiful exhibit. 1 Craig Fisher Toledo, Ohio Artist Biography Craig Fisher received his Bachelor of Arts in fine art from The University of Toledo, School of Design in 1976, following two years of additional study in The Netherlands at the Pascal College, Zaandam, North Holland. He has worked in various positions as a technical Illustrator, graphic designer and, more recently, as a concept artist. -
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. -
Rembrandt. the New Hollstein Dutch & Flemish Etchings, Engravings
BR.OCT.pg.proof.corrs_Layout 1 16/09/2014 11:55 Page 675 massive undertaking and the broadest and brief sketch to a finished piece but more often Books most detailed survey of the artist’s prints to merely adjusted the shading or removed date, comprising seven volumes (two text, excess background lines. It is clear that some three of plates, and two with plates of copies). of the reworkings of his early plates were The authors of the New Hollstein took full carried out by others in the studio, among advantage of the array of technological them the Leiden printmaker Jan van Vliet, advances available to present-day scholars – known for having reproduced some of the relative facility of travel and the ability to Rembrandt’s paintings in print. Several produce high-quality digital images of prints anonymous printmakers appear to have also and X-radiographs of watermarks. They had a hand in reworking light sketches Rembrandt. The New Hollstein looked at works together and apart, sharing produced by the master around 1630 and Dutch & Flemish Etchings, Engravings large digital images that revealed changes dif- 1631. The authors were able to perceive these and Woodcuts 1450–1700. By Erik ficult if not impossible to identify with the underlying sketches thanks to enlarged digital Hinterding and Jaco Rutgers. 7 vols. 2,210 naked eye or a magnifying glass. details; such prints, extensively re-etched pp. incl. numerous col. + b. & w. ills. Their methods and findings are described in by another hand, are identified by a ‘w’ for (Sound and Vision Publishers, Ouderkerk the introduction to the first volume. -
Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries
CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ... -
A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2004 A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process through his Experimental Attitude towards the medium. Bethany Ann Carter-Kneff East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art and Design Commons Recommended Citation Carter-Kneff, Bethany Ann, "A Discussion: Rembrandt's Influence on the Evolution of the Printmaking Process through his Experimental Attitude towards the medium." (2004). Electronic Theses and Dissertations. Paper 885. https://dc.etsu.edu/etd/885 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. A Discussion: Rembrandt’s Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium _______________ A thesis presented to the faculty of the Department of Art and Design East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in Printmaking _______________ by Bethany Ann Carter-Kneff May 2004 _______________ Ralph Slatton, Chair Peter Pawlowicz Mark Russell Keywords: Rembrandt, Printmaking ABSTRACT A Discussion: Rembrandt’s Influence on the Evolution of the Printmaking Process Through His Experimental Attitude Towards the Medium by Bethany Ann Carter-Kneff Rembrandt’s influence on the medium of printmaking can only be explained through his methodology in the production of his images. -
Baldwins Ink Grounds MATERIAL SAFETY DATA SHEET
MATERIAL SAFETY DATA SHEET Edition: November 2017 36 KINGSTHORPE ROAD HOVE BN3 5HR Baldwins Ink Grounds Tel 01273 260 260 Fax 01273 260 270 (TNL 17271—17291) E-mail [email protected] SECTION 1. CHEMICAL PRODUCT AND COMPANY IDENTIFICATION PRODUCT NAME: Baldwins Ink Ground APPLICATION OF SUBSTANCE: To be used as an etching ground for Intaglio printmaking. MANUFACTURED BY: Trefeglwys Printmakers Trefeglwys Powys, SY17 5 PH CONTACT INFORMATION: CONTACT: Andrew Baldwin TELEPHONE NUMBER: +44 1686 430623 EMAIL: [email protected] SECTION 2. HAZARDS IDENTIFICATION The Mixtures, as mentioned in Section 16 are not classified as dangerous according to Directive 67/548/EEC and 1999/45/EC and their amendments. HAZARDS TO HUMAN HEALTH: Can cause skin and eye irritation. CONTACT WITH SKIN: Prolonged contact may cause irritation. CONTACT WIT EYES: Direct contact can cause irritation. INHILATION: - SWALLOWING: - HAZARDS TO THE ENVIRONMENT: Not likely when professionally used. Do not allow material to enter drains or waterways. SECTION 3. COMPOSITION/ INFORMATION ON INGREDIENTS CHEMICAL DESCRIPTION: Mixture of Organic and/or Anorganic Pigments and Carbon Black; (Synthetic) Resins; Vegetables—and/or Mineral Oils and additives. DANGEROUS COMPONENTS: None. Mineral Oils are not classified as dangerous according to Directive 67/548/EEC, Annex 1: note H, L or H, N. ADDITIONAL INFORMATION: Explanation of Note H, L and H, N: see Section 16. SECTION 4. FIRST-AID MEASURES GENERAL DIRECTIONS: Remove all contaminated clothing. CONTACT WITH SKIN: Wash with water and soap. CONTACT WITH EYES: Flush with plenty of water for at least 15 minutes. If irritation persists, seek medi cal attention. -
PRINTS, DRAWINGS, PAINTING and OTHER WORKS on PAPER August 2014
PRINTS, DRAWINGS, PAINTING AND OTHER WORKS ON PAPER August 2014 1. (1948 Campaign Poster) Henry A. Wallace, Glen Taylor and Rockwell Kent. LABOR! VOTE LABOR. American Labor Party Poster for the Presidential campaign of 1948, including the candidacies of Henry A, Wallace for President, Glen Tayor for Vice President and Rockwell Kent for Congress. 17 x 11 inches. Letterpress reading as follows: "LABOR!/Vote Labor/Wallace for President/Taylor for Vice Presdident/Rockwell Kent for Congress/VOTE ROW C/American Labor Party." The candidates were running on the Progressive Party ticket, which was supported by the American Labor Party. Wallace had been Vice President under FDR, Glen Taylor was the incumbent Senator from Idaho (and a former country singer), and Rockwell Kent was, of course a well known artist and author with extremely liberal politcal views; Kent had a dairy farm in AuSable Forks, NY at the time of this campaign, and presumably ran for Congress in the district in which the farm was located. In nice condition, with minor browning at the edges. Very rare. $1500.00 2. Abeles, Sigmund. PHILOSOPHY STUDENT. Wood engraving, not dated. Inscribed "artist proof" and signed in pencil. 9 x 12 inches. In excellent condition. $300.00 3. Abramovitz, Albert (American, born Latvia, 1879-1963). STRIKE. Linoleum cut on wove paper, c. 1930s. Signed in pencil, and monogrammed "AA" in the block. Edition size not known. 11 5/8 x 9 7/8 inches, 321 x 252 mm., plus wide margins. This print is likely one that Aramovitz did for the WPA Federal Arts Project between 1935 and 1939.