Printmaking 2 ART-2401C-002 Etching Intaglio Process Monday & Wednesday Time: BLDG
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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. -
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. -
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. -
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. -
INTAGLIO / Aquatint Maury | Fall 2019 an Aquatint Is an Etching with Tonal Passages That Resemble a Wash
INTAGLIO / Aquatint Maury | Fall 2019 An aquatint is an etching with tonal passages that resemble a wash. An aquatint employs acid resistant particles to create an irregular dot pattern on the plate. The acid resistant particles can be applied using spray paint, rosin, or other acid resistant particles to create a random texture. Aquatint can be used alone or in combination with drypoint and etching techniques. Generally, aquatint is applied after an image has already been created with drypoint or etching to add tonal values to the image. But there are many ways to use aquatint, including applying rosin or spray paint on top of hard ground (before the plate is put in the ferric chloride bath). Note: You will print with less pressure for aquatints. Francisco Goya, Que Gerrero! (How Warlike!), 1877, Etching and burnished aquatint. A 50% coverage of the plate is ideal. too sparse just right too heavy 1 ROSIN Grains of rosin are dusted onto a plate, then melted slightly, so that the rosin can create tiny islands for acid to bite around. Aquatint provides a texture, or tooth, to hold the ink. Rosin can be applied by hand or using a traditional rosin box. Apply rosin by hand by placing rosin powder into a nylon and shaking it onto the plate as desired. This allows for a more variable application. How To / The Rosin Box: You will need to wear proper protective gear when using the Rosin box. There are respirators on the shelf nearby or bring your own dust mask. Rosin is dangerous if inhaled over time. -
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. -
AND the JEWISH EXPERIENCE the Berger Print Collection GALLERY GUIDE
AND THE JEWISH EXPERIENCE The Berger Print Collection GALLERY GUIDE This exhibition is organized by Westmont Ridley-Tree Museum of Art, Santa Barbara, California. The presentation of this exhibition at Telfair Museums is curated by Courtney McNeil, Chief Curator & Deputy Director for Curatorial Affairs. The works in this binder are organized alphabetically by the title of the print. An image of the work precedes the label text. All works are by Rembrandt van Rijn (Dutch, 1606–1669) unless otherwise noted. All works courtesy of the Collection of Howard and Fran Berger, Gift to the Westmont-Ridley Tree Museum of Art. Abraham and Isaac, 1645 Etching and drypoint on laid paper B.34, I/II (White & Boon only state); H. 214 Rembrandt represents the patriarch and his son just prior to Abraham’s attempt to sacrifice Isaac. Abraham is portrayed as obedient to God’s command, yet in anguish, in contrast to the young Isaac, who accepts his fate. For Christians, this scene is often interpreted as a precursor to the crucifixion of Christ in the New Testament. Within the context of Judaism, this narrative serves as a reminder of the importance of obedience to God’s will and his divine plan. This etching captures the diverse breadth of style of Rembrandt’s etched line work. His use of drypoint enhances the sense of weighty volume and velvety texture of Abraham’s and Isaac’s garments. Abraham Casting Out Hagar and Ishmael, 1637 Etching and drypoint on laid paper B.30, I/I (White & Boon only state); H. 149 Here, the beloved Jewish-Christian patriarch Abraham reluctantly exiles his first-born son, Ishmael, and the boy’s mother, Hagar. -
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. -
Gamblin Etching Inks
jacksonsart.com Gamblin Etching Inks Gamblin has developed five Blacks and Graphite for printmakers using intaglio printing processes. Gamblin Etching Inks are designed for printmakers who need a strong line and a great sensitivity to detail. Each black is designed to meet specific needs in both depth of colour and printability. Working Properties With the wide array of techniques that fit under the intaglio umbrella comes the need for a range of working properties to accommodate them. At a basic level, intaglio inks must be able to be wiped from the plate without pulling ink from the incised lines and the remaining ink must then transfer fully to the paper. Beyond this, there are a range of working properties to choose from. If an image would be best served by having strong contrasts in value, it may be ideal to use an ink that wipes easily and leaves very little plate tone. An ink with these working properties would not be ideal for a mezzotint, for which a stiffer ink is better suited. colour Most black pigments are not perfectly neutral in colour. In the masstone (lines or heavy rollouts)the colour temperature is imperceptible, but each ink leaves a plate tone that is either warm or cool. These colour differences, while subtle, can affect the overall look and feel of a finished print. 1 jacksonsart.com To illustrate, Bone Black and Carbon Black vary significantly in working properties; but they share a warm colour temperature. While they are very strong blacks, the warmth can lessen the feeling of depth to some artists, so a more neutral or cool black may be a better fit.