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Study on a Rembrandt Enlightenment to Discuss the Connection Between Intaglio Printmaking & Monoprint

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Study on a Rembrandt Enlightenment to Discuss the Connection Between Intaglio Printmaking & Monoprint Study on a Rembrandt Enlightenment to Discuss the Connection between Intaglio Printmaking & Monoprint 1. Introduction ▊ Yue-Sheng Hwang The Monotype or Monoprint Method refers to applying inking to layout or on partial artwork, or to represent arts through paintings. After a special or partial treatment by wiping, the ink is transferred to print paper to represent a single, unique printing result of one piece of printmaking. The tag of its artwork can be either 1/1 or Monotype or Monoprint. Kurt Wisneski defines these two terminologies as follows as stated in his book ‘Monotype / Monoprint History and Techniques’: Monotype The word monotype is an amalgam that, when broken into its two components, is not unfamiliar. Mono means alone, one, or single and the reference to type points directly to a relationship with the field of printing- type is a term used to describe a letter style or even a lead block that carries the character that prints a letter form. When reassembled, the word monotype refers to the results of a printing process that starts with an empty plate. An image is initially painted onto a blank plate, and this blank plate only acts as an intermediary in the process. The painted image is then transferred to paper, or some other form of support. The final printed image is a monotype, and is unique; to reproduce it exactly would be somewhat difficult. 1 Monoprint In contrast to the term monotype, the word monoprint describes a somewhat different process. The use of the word print more directly allies the process to the field of printmaking. Monoprint can be generally divided into two categories (1) Monoprint that alter a previously printed image; and (2) Monoprint that use matrix or key plate to explore variations. In both cases; the resultant imagery is unique. 2 The Chinese names for Monotype and Monoprint indicates a single translation called “單刷版畫.” This terminology has a perfect Chinese translation; however, the Chinese version cannot convey what monotype and monoprint really are. The two terminologies produce a different meaning. The author then tries to elucidate by giving a definition: monotype indicate “those monotypes without engraving” while monoprint suggests “those monoprints with engraving.” The Chinese term of “單刷 版畫” refers to two different types of printmaking. In academic application, researchers prefer to use monotype or monoprint, which is less controversial. 1.Kurt Wisneski, 1995 , 'MONOTYPE / MONOPRINT：History and Techniques', P,13 2. As aforesaid, P.14 1. While exploring the printmaking of Rembrandt, the author felt that there is an attitude of monoprint naturally implicated in the creative process. While studying some literature with a focus on monotype and monoprint, the author witnesses how Rembrandt is well positioned in the development of monotype and monoprint. Since Rembrandtian printmaking mostly based on Intaglio, this short essay explores the attitude of Rembrandt towards creative artworks. This paper aims at excavating its embedded implications of monotype and monoprint in production of Intaglio Printmaking, and connects Intaglio Table 1 Rembrandt "Male Printmaking to monotype and monoprint for connection. & Female Beggars"，1628, Etching method ,12.2×9.5 2. Enlightenment on the Intaglio Production of Rembrandt cm, Rijks museum, Amsterdam. Rembrandt’s creative printmaking is restricted to intaglio, single type of print plate; etched copper plate, single print plate. Yet, the plate-making technique combines hard ground etching, Drypoint and Engraving while the procedure of plate making contains multiple states, multi-level modifications, trial print, and revised edition. The way of plate wiping by applying ink to the top is another way of combining the ideas with attitude of monoprint. In the printing process of a different release of the same plate, Rembrandt incorporates creative behavior into his personal involvement to show its uniqueness in each single piece among his multiple artworks Table 2 Rembrandt "Bald old man with beard"，1635, with intention. Etching method（only state）, 6.6 × 5.6cm,The 2-1Rembrandt’s Attitude towards Making plate Maecenas Collection of the Rembrandt’s attitude towards copper plate can be Museum Geelvinck detected through the way he scrapes paint with a scratch awl Hinlopen Huis. to work on the plate full of hard coat corrosion inhibitor, and how he comes up with the ideas, compose his artworks. His technique of natural, fluid, leisure lines of preliminary etching shows a hand-painted creative art with spontaneous overflow, which responds to the monotype style. In general, the pre- work plays a part in printmaking. It takes close and precise ideas and plans to start the creative artworks. When dealing with a new copper plate, we shall first polish the plate until it is very polished before plate making. We shall also remove those oxidized stains or scratches on the plate. Then polish a 45°angle on the edges of the plate with a file. It is very easy to cover the side of the plate with corrosion inhibitor. And now it is time to apply the corrosion inhibitor. Yet, we can tell from Table 3 Rembrandt "Saskia"，1636 Etching Rembrandt’s several pieces of printmaking, and find out that method , 15.1 ×12.6 cm, all those pre-work can be omitted in his preliminary etching Rembrandthuis, artworks. Amsterdam. 2. First of all, one shall apply some corrosion inhibitor to the plate after cutting the cooper plate. Then, one shall sketch out the overall composition with a stylus pen to pierce through the surface full of corrosion inhibitor. After a short period of etching, the light and dark grooves revealed on the plate after the etching turn out to be the basis of each steps. These grooves were put under the last picture 1. With much confidence and outstanding ability to decide how to compose the overall picture and to control the body, Rembrandt usually considers the preliminary etching to be a sketch must do before working on a piece of oil painting. He even treats copper plate as a sketch book as you see in Table 2 3 and Table 4. ("Saskia" ) Liesbeth Heenk wrote in an essay “Rembrandt and His Influence among German and Austrian Artists in the 18th Century” exhibited in the Table 4 Rembrandt, album of “Rembrandt & His Followers,” saying: "Saskia"，1636, Etching Method , 15.1 ×12.6 cm, Rembrandt occasionally treated the copper plate as if Rembrandthuis, Amsterdam. it were a sheet from a sketchbook. His oeuvre contains about nine etched study sheets. Most of them have been executed between 1632 and 1638, and contain motifs such as heads, self-portraits, and figure studies. Most of Rembrandt’s printmaking starts with hard ground etching to sketch out the structure of the overall picture. After etching, he applies Drypoint and Engraving to the plate. (There are plenty of artworks accomplished by using just Table 5 Rembrandt, "The etching.) Yet, different choice of awl or nail to scratch the Omval in the River Amstel" hard ground etching on the plate will result in different speeds , 1645, Etching Method & of line-etching with different concaves on the etched plate. Drypoint, Museum Het Table 5 shows a scratched brushwork, which reveals a fact Rembrandthuis. that Rembrandt chooses a scratch awl to scratch lines on the plate through trial engraving. The difference between Drypoint and Engraving is mainly due to the use of tools. These two methods create different effects on the plate through engraving. There is a huge amount of Drypoint used in the Rembrandtian printmaking. Rembrandt may be the only artist who frequently applies Drypoint to make the most out of it. The etched lines spontaneously overflow in a free manner, which reveals a fact that Rembrandt is good at taking control of the overall picture. Compared to the slow and classy processing taken by Drypoint and Engraving to deal with partial artworks, these two ways of etching create a high contrast in printmaking. Table 6 Rembrandt, "The Artist Who Paints the 1. Kaohsiung Museum of Fine Arts, 2001, "Rembrandt & His Followers", Statue of Goddess"，1639, P.69 Etching Method, Engraving, 2. Rembrandt and Saskia Uylenburgh, his landlord’s niece, were married in & Drypoint 23.2 × 18.4 cm, 1634. His son Titus was born in 1641. In 1642 his beloved Saskia died. Rembrandthuis, Amsterdam. 3. Rembrandt did not finish this piece of artwork as shown in Table 6 “The Artist Who Paints the Statue of Goddess”. First of all, Rembrandt sketches out a general picture through etching. Next, he adopts Drypoint and Engraving simultaneously to deal with the partial artworks slowly. It shall be the best description of its production process. Drypoint refers to direct engraving on a plate by using sharp awl. A Cooper plate is full of ductility. The plate will form some concaves after pressing with sharp awl. The concaved copper will be pushed to both sides of Table 7 Rembrandt, "The the lines. It slightly bulges out the surface of the copper Resurrection of Lazarus", 1632, plate to form a coarse burr on the lines. However, Etching Method, Engraving, Engraving indicates a method by removing a thin copper 36.6 ×25.8 cm, Collection of wire from the engraved copper plate. Museum Het Rembrandthuis While inking, the concaved lines of Drypoint will keep the ink on the plate. There will be some ink stained at the edge of the burr. As a result, the printed lines and the edges will create an effect of smudge ink. As the number of printed papers increase, the coarse bulged burr will be eventually polished since it slightly protrudes from the layout through abrasion of inking and plate-wiping under huge pressure of imprinter. Therefore, Rembrandt will make a second revised edition after printing ten papers.
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