DOCSLIB.ORG

Artist Proof the Collective Spirit of Freestone Press Artist Proof the Collective Spirit of Freestone Press Artists

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Artist Proof the Collective Spirit of Freestone Press Artist Proof the Collective Spirit of Freestone Press Artists ARTIST PROOF THE COLLECTIVE SPIRIT OF FREESTONE PRESS ARTIST PROOF THE COLLECTIVE SPIRIT OF FREESTONE PRESS ARTISTS Diana Balhorn Adelaide MacPherson Helen Banks Deborah Milligan Alan Chappelow Gail Noble Wendy Chappelow Jenny Noone Judith Dorber Vanessa (Ness) Power Lesley Duxbury Fiona Reynolds Ali Fullard Maxine Salvatore Amanda Goodge Lorraine Scott Kye Hanley Valmai Todd Susan Hibberdine Louisa Waters Glenda Johnson Pat Waters Gillian Kline Lorraine Watt Tamsyn Lenné Ten Years of Freestone Press ERIN MATHEWS CURATOR, GIPPSLAND ART GALLERY Driving down the winding road through Briagolong, you would The great achievement of Freestone Press over the years has be forgiven for missing the turnoff into Freestone Press. The dirt been to unite a disparate group of regional artists with a common driveway gives way to a house on the hill and the studio, rising out focus (a passion for printmaking) and a shared camaraderie. of the bush on your right. The picturesque studio, sitting amongst Collectively they have pushed each other to achieve more than trees hides a creative powerhouse. This unassuming building any of them could have individually. The artists of Freestone Press has been the location for the development of artists and their are dedicated to the development of their craft and sharing their practices over the last ten years. knowledge. Artists often participate in workshops with some of I have been lucky enough to work with the artists, who have Australia’s finest printmakers, including Martin King, Dave Frazer, met here regularly, to create work for this 2020 show. Stepping Jazmina Cininas, and Heather Shimmen. inside the studio space I am always greeted by a group of The artists included in this ten-year celebratory exhibition enthusiastic artists, with cries for coffee and tea, and a selection showcase the range of printmaking skills and styles that have of snacks. They talk about art and about life; and visiting been developed through the Freestone Press community Freestone Press is a highlight of my week. This space is a focus and studio. Each artist was asked to produce new work for point for community, with a rotating group of artists coming and this exhibition, which has been combined with works from going. As Gillian tells me over coffee, the Gippsland Art Gallery collection. The work created by the Freestone Press artists celebrate and elevate everyday “Freestone Printmakers have always been a fluid experiences to create memorable images that exploit the inherent group of artists who come together to work, exhibit, characteristics of the medium to their greatest effect. travel and support each other”. The purpose-built studio is fully equipped, with facilities for Intaglio and Relief printmaking. On any given studio day, you might see artists working on etching copper plates, cutting lino, working on aquatints, discussing layering and paper colours, or sitting down to discuss their works together. Freestone Press is owned and operated by Gillian Kline, an exceptional printmaker, who gladly shares her knowledge and time with all those who come to work here. Artists can join regular studio days or participate in art tours or weekend workshops. Gillian says, “Freestone Press is open to all ages, all abilities and is an inclusive studio for all people who would like to explore the fascinating practice of Printmaking”. Freestone Press launched in 2010, inspired by the Briagolong School of Fine Art, run by Pat and Mick Waters. Gillian opened the purpose-built printmaking studio for artists who were drawn to that particular practice. 3 DIANA BALHORN Artist Statement My prints are inspired from my surroundings and knowledge of horses. All subjects are my own, gathered or memorised from personal experience. Making art using these themes is an expression of my love for the land. It is my never-ending passion to manage and support it using common sense and observation. Artist Biography Diana Balhorn was born in Yarram, Victoria. She completed a Tertiary Orientation program at Sale Technical College focusing on drawing, photography, painting and ceramics. From here she travelled widely, her close companions were a saddle, camera and sketch pad. Diana has exhibited in several solo shows around Gippsland, group exhibitions at commercial galleries in Melbourne and regional galleries in Gippsland. She has exhibited regularly with Freestone Printmakers and Briagolong artists. Balhorn currently works from home as a maker of hand braided custom horse gear under her logo dbbraiding. The artist also has work in the collection of Gippsland Art Gallery, Sale. Diana BALHORN Wind Direction – A Narrative, 2013 Etching on paper (edition 7/20) 19.7 x 29.7cm (platemark); 28.4 x 37.8cm (sheet) Collection Gippsland Art Gallery Donated by Freestone Press, 2016 4 Diana BALHORN Diana BALHORN Eye To The Soul, 2018 The Beat, 2019 Etching and aquatint on paper Etching and aquatint on paper 54 x 47cm (sheet) 33 x 40cm (sheet) Courtesy the artist Courtesy the artist HELEN BANKS Artist Statement The experience of viewing a smoking ceremony at dawn left a lasting impression on me, and conjured up feelings of contemplation about where we sit as individuals in the environment. The cloudy morning on a deserted beach with only the people at the ceremony in attendance just added to the mood of the morning. Polymer photogravure is a photographic printing process that helps to represent the mood and feeling I am trying to capture in my images. Through my art I want to highlight the things people often take for granted in this busy world we call life. The way people view relationships not only with each other but the environment we pass every day in our rush and hurry to participate in life. Artist Biography Helen Banks is an Australian Artist who grew up in rural Victoria, where she currently lives. Her artistic practice has evolved over many years through the exploration of traditional crafts, the culmination of these skills is now being expressed in her current body of work through printmaking, book art and textiles. She completed an advanced Diploma of Visual Art at East Gippsland TAFE and has gone on to exhibit consistently over the past 10 years in both regional and commercial galleries, and has work in both public and private collections. Helen BANKS Davies Plain, 2015 Linocut on paper (edition 5/20) 19.9 x 25.1cm (platemark); 28.2 x 38cm (sheet) Collection Gippsland Art Gallery Donated by the artist, 2015 6 Helen BANKS Helen BANKS No Birds Fly, 2020 Dawn, Lake Tyers, 2020 Polymer photogravure on paper Polymer photogravure on paper 40 x 31.5cm (sheet) 30 x 37.5cm (sheet) Courtesy the artist Courtesy the artist ALAN CHAPPELOW Artist Statement Most of my photographic work has been based on landscape. In my early years the vast majority of my time was spent outdoors, either coastal or in small town areas. As a small child, my siblings and I were allowed to roam beaches looking for driftwood or salvage items, so always out in the open. Such was lighthouse life in the 1950’s. The Australian landscape never ceases to fascinate me. Artist Biography Alan Chapelow was born in Sydney is 1948, moving to the country with his family for his father's work as a lighthouse keeper in five locations. Alan's education was started with home schooling, then three years of primary school and three years of high school after which time he decided to run away to sea and joined the Australian Navy. His main interest is photography upon which the majority of his work is based. Alan has no formal photographic training and his work over the last 62 years has been self taught. He has attended several photographic based printing workshops over the years, such as copper plate photogravure, platinum and palladium, salt printing and Van Dyke printing processes at Gold Street Studios and solar plate process at Baldessin Press. Alan has exhibited at the Tyers Art Show, Briagolong Art Gallery, Briagolong, and Gippsland Art Gallery, Sale with Freestone Press group. He has also attended Freestone Press several times on various workshops. Alan CHAPPELOW Shimmering Fear, 2013 Photo-etching on paper (edition 7/10) 14.3 x 26.7cm (platemark); 28.5 x 37.8cm (sheet) Collection Gippsland Art Gallery Donated by Freestone Press, 2016 8 WENDY CHAPPELOW Artist Statement This work was inspired by local bushfires impacting on Sale and local regions. We were at home, just out of Sale, and the urgency and preparations intensified as burning leaves fell from the raging sky. Our car was packed, we were at the ready. The dilemma of ‘should we go or should we stay’ hovered in the air with uncertainty. Then the crisis passed and calm prevailed. This print was taken from a hand coloured collagraph plate. Artist Biography Wendy Chappelow was born in Sydney and within the following 18 years lived in Canberra, Brisbane, Mt Isa, and Darwin before returning to Sydney to complete tertiary studies. The different landscapes, climates and social interactions of these areas impacted greatly on her growing understanding and knowledge of this ‘Island Home’. Wendy CHAPPELOW Dilemma, 2013 Collagraphy on paper (edition 7/20) 29.8 x 19.7cm (platemark); 37.4 x 28.7cm (sheet) Collection Gippsland Art Gallery Donated by Freestone Press, 2016 9 JUDITH DORBER Artist Statement The new series of monotypes titled Twilight are for me like small journeys. Snap shots of moments in time. This idea evolved in autumn and winter 2019, in the twilight hours, pre sunrise, while temporarily incapacitated and recovering from a fall. Framed by a small window I was focused on a continuum of changing light and cloud forms passing. It was a mesmerising activity, alone with my thoughts.
Load more

Recommended publications
  • FEM-Affinity Exhibition Publication Online PDF Here
    1 — FEM—aFFINITY — 2 FEM—aFFINITY Fulli Andrinopoulos / Jane Trengove Dorothy Berry / Jill Orr Wendy Dawson / Helga Groves Bronwyn Hack / Heather Shimmen Eden Menta / Janelle Low Lisa Reid / Yvette Coppersmith Cathy Staughton / Prudence Flint A NETS Victoria & Arts Project Australia touring exhibition, curated by Catherine Bell Cover Prudence Flint Feed 2019 oil on linen 105 × 90 cm Courtesy of the artist, represented by Australian Galleries, Melbourne BacK Cover Eden Menta & Janelle Low Eden and the Gorge 2019 inkjet print, ed. 1/5 100 × 80 cm Courtesy of the artists; Eden Menta is represented by Arts Project Australia, Melbourne — Co-published by: National Exhibitions Touring Support Victoria c/- The Ian Potter Centre: NGV Australia Federation Square PO Box 7259 Melbourne Vic 8004 netsvictoria.org.au and Arts Project Australia 24 High Street Northcote Vic 3070 artsproject.org.au — Design: Liz Cox, studiomono.co Copyediting & proofreading: Clare Williamson Printer: Ellikon Edition: 1000 ISBN: 978-0-6486691-0-4 Images © the artists 2019. Text © the authors, NETS Victoria and Arts Project Australia 2019. The views and opinions expressed here are those of the authors. No material, whether written or photographic, may be reproduced without the permission of the artists, authors, NETS Victoria and Arts Project Australia. Every effort has been made to ensure that any text and images in this publication have been reproduced with the permission of the artists or the appropriate authorities, wherever it is possible. 3 — Lisa Reid Not titled 2019
    [Show full text]
  • 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).
    [Show full text]
  • 37 48' Project Outline
    • 37° 48ʹ S: artists navigate MELBOURNE is an exciting and provocative visual art project exploring the cultural diversity of contemporary Australia as exemplified by life in Melbourne. Street-art practices and traditional printmaking techniques are on an equal footing as twelve diverse, exceptional Melbourne artists consider the cultural, natural and built environments of their city. • The twelve 37° 48ʹ S: artists navigate MELBOURNE project artists are: Angela Cavalieri, Bindi Cole, Carmel Wallace, Cat Poljski, Debra Luccio, Eolo Paul Bottaro, Heather Shimmen, Regan Tamanui aka HA! HA! Judy Holding, Marco Luccio, Rona Green, Rone • A new network of artists whose work collectively presents a unique perspective of life in Melbourne will be established. • The large format, limited edition suite of prints created by these twelve artists will be previewed in Melbourne before journeying to New York where it will join a complementary body of work created by the New York Society of Etchers in response to their city. The resulting dialogue will highlight similarities, differences and crosscurrents between the two cities of Melbourne and New York. Exhibitions will follow in other cities. 37° 48′ S: artists navigate MELBOURNE is a visual art project co-curated by artist, writer and curator, Dr Carmel Wallace, and Dianna Gold, an independent curator, arts consultant and former Director of Gallery 101 (a leading gallery in Melbourne from 1989 until 2010). In 2004, at the invitation of the New York Society of Etchers, Dianna and Carmel co-curated the exhibition Surface Tension: Twenty-One Contemporary Australian Printmakers and successfully presented this exhibition at the National Arts Club, Gramercy Park, Manhattan as part of a major cultural exchange.
    [Show full text]
  • Shortlist Announced— 2019 Geelong Acquisitive Print Awards
    Media Contact Media Penny Whitehead T: 03 5229 3645 Release E: [email protected] Shortlist announced— 2019 Geelong acquisitive print awards 20 September to 24 November Official prize winning Geelong Gallery announcement: Free entry Thursday 19 September, 6.00pm Open daily 10am to 5pm Geelong Gallery is delighted to announce The prize-winning prints will be that 36 works by 37 leading and emerging announced at the official opening of Australian artists have been shortlisted the exhibition on Thursday 19 September for the 2019 Geelong acquisitive print (by invitation). awards. Selected from hundreds of entries from Showcasing diverse contemporary around Australia, the 36 shortlisted works Australian printmaking practice, for the 2019 Geelong acquisitive print the acquisitive awards and biennial awards reveal the technical and thematic exhibition will feature works by Alison diversity of contemporary printmaking Alder, Rosalind Atkins, GW Bot, Susanna practice. This year’s exhibition will Castleden, Tony Coleing, Christine include works by some of the nation’s Courcier-Jones, Marian Crawford, most talented established and younger Phil Day, Marieke Dench, Clive Dickson, generation artists. Dianne Fogwell, Graham Fransella, David Frazer, Silvi Glattauer, Jackie The selection panel for the 2019 Geelong Gorring, Gracia Haby & Louise Jennison, acquisitive print awards includes Rew Hanks, Kyoko Imazu, Locust Jones, Danny Lacy (Senior Curator, Mornington Peninsula Regional Gallery), Trent Walter Laith McGregor Martin King, Barbie Kjar,
    [Show full text]
  • Shimmen Full CV 2019
    HEATHER SHIMMEN Born 1957, Melbourne 78. BA Fine Art (Painting), RMIT, Melbourne 2010 Artists in residence, RMIT, Melbourne , Vic 2013 Artist in residence, The Art Vault, Mildura, VIC SOLO EXHIBITIONS 2019. ‘Ladies of the Pleiades’, Sale Regional Gallery, Sale 2017. 'Time Warps',Australian Galleries,Melbourne 2014. 'Insectivoria', Australian Galleries, Melbourne 2011. ‘The Swamp Maidens Tale’, Australian Galleries, Smith Street, Melbourne 2008. ‘Betwixt’, Gallery 101, Melbourne 2006 ‘I Dreamt I Dwelt in Marble Halls’, Stonnington Stables Museum of Art, Deakin University, Melbourne ‘Whispers’ Adele Boag Gallery, Adelaide 2005 ‘Figment, Fragment’, Gallery 101, Melbourne 2002 ‘Things That Float In The Air’, Joshua McClelland Print Room, Melbourne 1999. ‘The Sutured Heart’, Bulle Gallery, Melbourne 1997. ‘The Invisible Hand of the Future’, Lyall Burton Gallery, Melbourne 1996. Lyall Burton Gallery, Melbourne Adelaide Central Gallery, Adelaide 1993 Adelaide Central Gallery, Adelaide Lyall Burton Gallery, Melbourne 1991. Realities Gallery, Melbourne 1990. Realities Gallery, Melbourne 1986. Realities Gallery, Melbourne 1984 Bitumen River Gallery, Canberra 1983. Anthill Theatre, Melbourne 1982. Drummond Street Gallery, Melbourne GROUP EXHIBITION 2020. ‘Let All the Birds Fly- the hybrid print’,Maitland Regional Galleries,NSW ‘Fem -aFfinity’, Devonport Regional Art Gallery Tas Benalla Art GalleryVic Noosa Regional Art Gallery Qld Horsham Regional Art Gallery Vic Bunjil Place Gallery Vic Riddoch Art GallerySA 2019 ‘Paper Made’, Australian Galleries, Melbourne ‘Fem-aFfinity’, Arts Project, Melbourne ‘Beyond the Veil’,Art for the World Gallery, Cannaregio, Biennale de Venetzia, Venice,Italy ‘Beyond the Veil’,Memoire de L’Avenir Espace cultures pluridisciplinairl, Paris, France ‘2019 Ulsan International Woodcut Biennale’ South Korea ‘Round About’ Gecko Gallery, Fish Creek,VIC ‘Sydney Contemporary Art Fair’Sydney,NSW ‘Art Meets Nature’,WAMA, Sofitel,Melbourne ‘A Fine Line’, Bright Space, Melbourne 2018.
    [Show full text]
  • 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 .
    [Show full text]
  • 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.
    [Show full text]
  • 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 ...
    [Show full text]
  • 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.
    [Show full text]
  • Rembrandt's Three Crosses
    Mildred Lane Kemper Art Museum Spotlight Series: October 2008 By Paul Crenshaw, assistant curator for prints and drawings and senior lecturer in art history One of the most dynamic prints ever made, Rembrandt van Rijn’s The Three Crosses (1653) displays technical innovation and engagement with the human subjectivity of Rembrandt van Rijn The Three Crosses, 1653 Drypoint (4th state), 15 1/4 x 17 13/16" Christ’s death. A torrential downpour of lines Gift of Dr. Malvern B. Clopton, 1930 envelopes dozens of figures on the hill of Rembrandt van Rijn Golgotha, where Christ is pictured crucified The Three Crosses, 1660-61 Etching and drypoint (4th state)tate) amidst the two thieves. Even though it is an 15 1/4 x 17 13/16 " Gift of Dr. Malvern B. Clopton, 1930 inherently tragic subject commonly portrayed in Christian tradition, never before had it been staged with such sweeping emotional force. Rembrandt was inspired by the text of the Gospels (Matthew 27:45–54) proclaiming that a darkness covered the land from noon to three o’clock, when Jesus cried out with a loud voice, “Elí, Elí, lemá sabachtháni?” (“My God, my God, why have you forsaken me?”). When Jesus died, the passage continues, the earth shook, rocks split, tombs opened, and the bodies of many sleeping saints arose. To achieve these supernatural effects, Rembrandt employed the kind of bold technical ingenuity that helped define him as one of the most significant printmakers of his age. The Kemper Art Museum impression is a fine example of the fourth state of the print, which gives a dramatically different tenor and narrative focus to his subject than earlier states did.
    [Show full text]
  • Heather Shimmen
    HEATHER SHIMMEN Born 1957, Melbourne 1976-78 BA Fine Art (Painting), RMIT, Melbourne 2010 Artist in residence, RMIT, Melbourne 2013 Artist in residence, The Art Vault, Mildura, VIC 2021 Artist in residence, The Baldessin Press, St Andrews, VIC SOLO EXHIBITIONS 2021 ‘History Rhymes’, Australian Galleries, Melbourne 2019 ‘The Ladies of the Pleiades’, Gippsland Art Gallery, Sale, VIC 2017 ‘Time warps’, Australian Galleries, Melbourne 2014 ‘Insectivoria +’, Australian Galleries, Derby Street, Melbourne 2011 ‘The Swamp Maidens Tale’, Australian Galleries, Smith Street, Melbourne 2008 ‘Betwixt’, Gallery 101, Melbourne 2006 ‘I Dreamt I Dwelt in Marble Halls’, Stonnington Stables Museum of Art, Deakin University, Melbourne ‘Whispers’ Adele Boag Gallery, Adelaide 2005 ‘Figment, Fragment’, Gallery 101, Melbourne 2002 ‘Things That Float In The Air’, Joshua McClelland Print Room, Melbourne 1999 ‘The Sutured Heart’, Bulle Gallery, Melbourne 1997 ‘The Invisible Hand of the Future’, Lyall Burton Gallery, Melbourne 1996 Lyall Burton Gallery, Melbourne Adelaide Central Gallery, Adelaide 1993 Adelaide Central Gallery, Adelaide Lyall Burton Gallery, Melbourne 1991 Realities Gallery, Melbourne 1990 Realities Gallery, Melbourne 1986 Realities Gallery, Melbourne 1984 Bitumen River Gallery, Canberra 1983 Anthill Theatre, Melbourne 1982 Drummond Street Gallery, Melbourne GROUP EXHIBITIONS 2021 Ink Masters Print Prize, Tanks Arts Centre Tank 4, Cairns, QLD ‘Entrancing Others’, Gippsland Art Gallery, Sale, VIC Burnie Print Prize, Burnie Regional Art Gallery, Burnie,
    [Show full text]
  • Rembrandt's 1654 Life of Christ Prints
    REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St.
    [Show full text]