View allAll Photos Tagged drypoint
It was all looking a bit grey (which is what I wanted) but thought things could brighten a little with some Chine-collé. This is 20 C gold leaf, so dead posh.
Drypoint on 250 gsm Somerset with gold Chine-collé using oil-based relief printing inks.
These just need to be mounted and framed. Each one is a separate dry point art print looking at various aspects of driving home in the dark.
I'll probably use a simple white backing board and frame for this, (mounted together in a square), unless anyone reading this thinks otherwise!? Let me know if you do.
Dry point printmaking
Fotoradierung (Heliogravüre) + Kaltnadel und Ätztechniken.
(Light sensitive polymer plates allow for photorealistic etchings. A photo-sensitive coating is applied to the plate by either the plate supplier or the artist. Light is projected onto the plate as a negative image to expose it. Photopolymer plates are either washed in hot water or under other chemicals according to the plate manufacturers' instructions. Areas of the photo-etch image may be stopped-out before etching to exclude them from the final image on the plate, or removed or lightened by scraping and burnishing once the plate has been etched. Once the photo-etching process is complete, the plate can be worked further as a normal intaglio plate, using drypoint, further etching, engraving, etc. The final result is an intaglio plate which is printed like any other.)
Pablo Picasso (1881-1973) - Deux femmes se reposant (1931) - drypoint on copper transferred to paper - - Exhibition Raphael and the echo of the Myth - GAMeC Bergamo
Allotments at Cowpe. Drypoint etching 18x27cm. www.facebook.com/Caroline-Johnson-Fine-Artist-and-Urban-S...
The same plate, colour, paper but wiped differently. Just how much such a small change to one step can alter the look of a print.
Just one thing, which do you prefer?
Drypoint on 65 gsm Lokta
Drypoint on 250 gsm Somserset.
Using oil-based relief printing inks through an etching press. After seeing a video of a rock climber in the Peak District squeezing herself between monolithic stones, just her hard hat visible at one point.
As part of the 'Identity' series>>>
Etching on Copper, 5x10 cm. Soap-ground aquatint, with standard bite with ferric chloride and spit bite with nitric acid, open bite with nitric acid, drypoint. Printed on Hanhemühle.
Incisione su rame, 5x10 cm. Acquatinta al sapone, morsura per immersione con cloruro ferrico e morsura diretta con acido nitrico, Lavis con acido Nitrico, puntasecca. Stampata su Henhemühle.
Another in a tooth-achingly desirable series of hand-coloured limited edition drypoint etchings. 20cm x 20cm.
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My first attempt at creating a drypoint print using a rhenalon plate. The image was drawn into the plate using an etching needle. Printed in black ink on Siomerset paper.
Spring in the air sees catkins hanging over ploughed fields.
Drypoint on 250 gsm Fabriano using oil-based relief printing inks.
Ledikant (Le lit à la Française); couple making love in curtained bed; fourth state with tablecloth shaded with diagonals. 1646
Etching, burin and drypoint
Curator's comments
Hinterding et al. 2000 (Referring to the Amsterdam etching - III (of V))
Selected literature: Busch 1983; Amsterdam 1997, pp. 281-5; White 1999, pp. 186-7.
Given what we know about seventeenth-century morality, with its narrow-mindedness in matters of sexuality and eroticism, we are bound to wonder whether certain risqué works of art could circulate at the time. In 1647, one year after this etching was made, someone in Antwerp evidently took umbrage at certain prints with erotic themes that were available in the city. An astonishing twenty-two artists, including Jacob Jordaens, Jan Bruegel and Jan de Heem, testified that "volumes of prints by Carracci, Rosso and De Jode are sold and traded every day showing the fornication of the gods and suchlike, and these picture-books are commonly purchased by print-lovers, indeed similar picture-books by Raphael of Urbino and Marco da Ferrara are also sold and traded as well as new ones made in Paris by Peter van Mol which are more scandalous still". [They bore witness that: “hier dagelycx vercocht ende verhandelt worden de boecxkens van printen van Carats, van Rous ende van De Jode inhoudende boeleringen van de goden ende diergelijcke, ende dat deselve print-boecxkens onder de liefhebbers gemeyn syn, jae dat oick vercocht ende verhandelt worden diergelycke printboecxkens van Rafaël Urbino ende Marco de Ferrara ende de nieuwe gemaeckt tot Parys by Peter van Mol dewelcke veel schandeleuser syn ...” ( Duverger V, pp. 399-400)]. It seems that respectable painters and plate-cutters wanted to emphasize their familiarity with such prints and to stress that they were standard collector's items - proof once again that the issue of who finds what offensive is timeless [The artists' biographer Arnold Houbraken, following in the train of Florent Le Comte, would describe many of these images as "geiil en onbeschoft" (lascivious and boorish); see Houbraken 1718-21, III, pp. 203-5].
Rembrandt's print collection also included a book with pictures of fornication ('boelering') by Raphael, Rosso, Annibale Carracci and Giulio Bonasone [Strauss & Van der Meulen 1979, 1656/12, no. 232]. 'Boelering' initially meant love-making, without any negative connotations, but by the seventeenth century it was equated with lewd acts between men and women [‘Woordenboek der Nederlandsche Taal’ III-I, cols 142-3]. Many of the prints that were alluded to in the Antwerp testimony and noted as in Rembrandt's album, including Agostino Carracci's 'Lascivie' (c. 1590-95), are known [See DeGrazia Bohlin 1979, pp. 289-305]. Some are highly explicit, as is Marcantonio Raimondi's renowned series of positions 'I modi' made in 1524 . True, the Pope banned this series and it was taken out of circulation, but it lived on in imitations, including woodcuts furnished with salacious sonnets by Pietro Aretino [Lawner 1988 and Talvacchia 1999. A great deal of material related to this series is collected in Dunand & Lemarchand 1977].
It is not impossible that Rembrandt's 'French bed' was intended as a riposte to such expressions of undisguised classicizing lust, with the athletic gymnastics of the Roman school being replaced with a 'mise en scène' far closer to reality. It is typical of his artistic approach to see a challenge in taking subjects with a certain tradition in art and giving them a twist of his own. In the final analysis, the visual ingredients of prints such as Raimondi's and Rembrandt's etching are not so very different.
On the other hand, countless images exist, many of them produced in northern Europe, with the sultry atmosphere that precedes the moment that Rembrandt has depicted with such immediacy. Particularly numerous are prints showing the 'Children of Venus', or allegorical representations of 'Touch' from series depicting the senses, 'Night' from the times of the day, 'Luxuria' (Lust) from series of personifications of the Seven Deadly Sins, images showing the consequences of excessive drinking, racy biblical bed-scenes or pictures with a small, piquant image just visible in the background. Some of these, such as Crispijn de Passe's depiction of 'Night', contain all the elements found in Rembrandt's etching [See Franken 1197; Hollstein XVI, pp. 79-80, nos 295-89 ad]. A woman, a prostitute judging by her coiffure, invites a man who is lingering over a glass at the table, his head resting on his hand, to accompany her to the bed in a corner of the room. She has already picked up his plumed cap. Whether they are also to enjoy the privacy of a French bed, a seventeenth-century name for a curtained bed which became the euphemistic title of Rembrandt's 'boelering', it is impossible to tell [For 'un lit à la Francoise', see ‘Woordenboek der Nederlandsche Taal’ VIII-I, col. 1231]. In a sense Rembrandt's 'French bed' is the next moment in a story such as that related by De Passe, and carries on where others - with a few exceptions - break off their narrative.
Because of the many thematic contexts in which expressions of lust turn up in the seventeenth century, it is understandable that some writers have attempted to construe the picture as an allusion to the Prodigal Son in the brothel. That Rembrandt intended to depict this moment in the parable cannot be proven, but certain renderings of the story show a very similar scene albeit in the background. In the sixteenth and seventeenth centuries, endeavours were made to enhance the parable's topicality by dressing the protagonists in contemporary apparel, and in 1630 a play appeared entitled 'Present-day Prodigal Son' [See Amsterdam 1997, pp. 118-23, no. 19, esp. p. 120]. A fixed attribute of most images with this theme is a beret sporting a large plume, an ambiguous accessory, which Rembrandt certainly would not have draped so ostentatiously over the bedpost without good reason [Ibid., p. 284, with a quotation from Roemer Visscher's ‘'t Lof van de mutse’].
Inserting drawing-like, drypoint accents, Rembrandt took great pains over the beret and feather. The velvety effects of this technique dominate the print, which - partly for this reason - is extremely rare. At the proof stage, there was an unworked strip along the top of the copper plate, about two and a half centimetres high. Having removed it, Rembrandt turned his attention to details, albeit selectively. He burnished the plate in the man's right sleeve and inserted new lines there in drypoint, yet he did not deprive the woman of either of her two left arms. In the fourth state the tablecloth acquired some diagonal hatching. From then on, impressions appear increasingly worn. Following Rembrandt's death, when the plate had suffered too much to produce a clear impression, a five-centimetre strip was cut off along the left side, eliminating the passageway that had given the room a palatial ambience.
British Museum
The etching press is a wonderful manual machine with a metal roller which moves slowly as the huge wheel is pulled round.
This time a drypoint plate with chine-colle detail is being printed on 250 gsm Fabriano.
Rossendale. Drypoint etching, hand-coloured 20x20cm www.facebook.com/Caroline-Johnson-Fine-Artist-and-Urban-S...
Limited edition drypoint etching with watercolour 20cm x 20cm. One of a series of toothachingly desirable prints.
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PLEASE PLEASE me give credit, a link to my blog...
jane-cabrera-illustrator.blogspot.co.uk
if you re post this.
Thank you. x
The Conversation.
In readiness for a printmaking exhibition.
Collagraph with drypoint and chine colle detail.
Giovanni Boldini (Ferrara, 31 December 1842 - Paris, 11 January 1931) - Horses at the Bois de Boulogne (around 1885) - oil on board Ricci Oddi Modern Art Gallery, Piacenza
Dopo essere stato avviato all'arte dal padre, buon pittore, si stabilisce nel 1865 a Firenze, dove, all'Accademia, ha maestro il Pollastrini. Viene però subito a contatto con i Macchiaioli, che hanno notevole influsso su di lui. I lavori di questo periodo sono eccellenti, da alcuni critici preferiti a quelli della maturità e della vecchiaia. Nel 1869 viene introdotto dal Duca di Sutherland nell'alta società londinese, per la quale esegue ottimi ritratti. Conosce qui i grandi ritrattisti attivi tra il '700 e l'800 e ne riporta un'impressione che durerà tutta la vita. Nel '72 si stabilisce a Parigi, con un contratto che lo lega al grande mercante Goupil, per il quale dipinge una serie di incantevoli vedute della città. Hanno successo anche i quadri storici, che dipinge nel gusto di Fortuny. Nel 1877 conosce la pittura di Velazquez e di Franz Hals in Spagna, dove si ferma qualche mese. Verso l'80, dopo aver compiuto viaggi in Inghilterra, in America, in Germania, in Austria, ritorna a Parigi, dove diventa quel famoso ritrattista che tutti conoscono. Gli italiani hanno modo di vedere le sue opere alle Biennali Veneziane del 1895, 1903, 1905, 1912. Nel '32 gli viene allestita una mostra postuma di 71 opere. Eseguì anche incisioni a puntasecca e litografie. -Macchiaiolo autentico, e dei maggiori, fu nei suoi anni giovanili il Boldini. Di lui è molto più conosciuta la produzione parigina, elegante, lusinghevole e mondana: ritratti... condotti con un'esecuzione spedita, sciolta, ma che troppo spesso devia verso una facilità di cattiva lega... (Invece) le sue pitture macchiaiole, e quelle dei primi anni di Parigi, hanno una sostanziosità della più genuina bellezza. Naturalmente il suo spirito estroso, la sua briosissima frivolità ed eleganza, si manifestano anche in quel periodo in mille modi, ma si concretano sempre in valori di pittura, e non si sperdono in divagazioni illustrative
After being initiated into art by his father, a good painter, he settled in 1865 in Florence, where Pollastrini taught at the Academy. However, he immediately came into contact with the Macchiaioli, who had a significant influence on him. The works of this period are excellent, from some favorite critics to those of maturity and old age. In 1869 he was introduced by the Duke of Sutherland to London's high society, for which he painted excellent portraits. He knows the great portrait painters active between the 1700s and 1800s here and brings back an impression that will last a lifetime. In 1972 he settled in Paris, with a contract that tied him to the great merchant Goupil, for whom he painted a series of enchanting views of the city. The historical paintings, which he paints in Fortuny's taste, are also successful. In 1877 he met the paintings of Velazquez and Franz Hals in Spain, where he stayed for a few months. Around 80, after making trips to England, America, Germany, Austria, he returned to Paris, where he became that famous portraitist that everyone knows. The Italians have the opportunity to see his works at the Venetian Biennials of 1895, 1903, 1905, 1912. In 1932 he was set up with a posthumous exhibition of 71 works. He also made drypoint engravings and lithographs. -In the early years, Bacchini was an authentic Macchiaiolo, and of the major ones. Parisian, elegant, flattering and worldly production is much better known than him: portraits ... carried out with a speedy, loose execution, but which too often deviates towards an ease of bad league ... (Instead) his Macchiaioli paintings , and those of the early years of Paris, have a substantiality of the most genuine beauty. Of course his whimsical spirit, his very lively frivolity and elegance, also manifested themselves in that period in a thousand ways, but they always materialize in painting values, and are not lost in illustrative digressions
Drypoint Etching. It's nearly a year since I started attending printmaking workshops. I particularly like the slightly hit-and-miss scratchiness of this technique, which I feel suits the subject matter. 18 x 28 cm
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Drypoint, hand-coloured etching. One of the prints I'll be showing at Rossendale Open Studios weekend. This will take place on 5/6/7 October and this year I'm showing with Valley Artists, Clarke Holme Mill, Burnley Road East, Rossendale BB4 9HR. Come and see us- drinks and nibbles, too!
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Punta seca / Dry point
De la serie ilustrada sobre leyendas Colombianas.
From the Colombian legends series.
Oh, it was the last day in the workshop before summer break and I thought there was another week to go :(
This is made from the plates for the 'Bold' series, only this time inked up differently. Picture with YT to show scale.
See you in the autumn term PW.
Another sweetly desirable hand-coloured limited edition drypoint etching. 20cm x 20cm.
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