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Mar is investigating about traditional printmaking techniques.
This was a session where she was learning about how to make soft ground etching.
Made using instructions in the Penny Sampler class. Fabric is Etchings wovens and is backed with a sweet Scottie print.
Schalkwijkstraat (ca. 1968), ets van Charles Donker voor 57 euro bij Onterfd Goed in de De Gruyterfabriek (www.onterfdgoed.nl)
File name: 09_04_000550
Title: Gulls with girl in boat
Alternative title: Girl and gulls
Creator/Contributor: Woodbury, Charles H. (Charles Herbert), 1864-1940 (artist)
Date created: 1931
Physical description: 1 print : etching ; image 9 x 11 in.
Genre: Etchings
Notes: Title and other information from catalog raisonne.; Artist Raisonne: Charles Woodbury / Warren Seamans. Raisonne.org, no. R.ORG CHW-180; Signed lower left: Charles H Woodbury.; Edition: 13/150.; Initialed in plate: CHW.
Location: Boston Public Library, Print Department
Rights: Rights status not evaluated.
Etching by Anna L. Conti, printed May 26, 2011
This image is available to anyone working for the safe release of Ai Weiwei.
Via the Creative Commons license: Attribution-NonCommercial-ShareAlike (CC BY-NC-SA)
Mar is investigating about traditional printmaking techniques.
This was a session where she was learning about how to make soft ground etching.
Descaminho
Ponta-seca em matriz de acetato
2018
No processo de investigação de Jan M.O. sobre alguns elementos de seu seio familiar, em Descaminho se prossegue a produção de impressões que estampam os objetos, os rituais e as vivências que abarcam o universo de sua avó paterna. Através de gravuras em ponta-seca e posteriormente pintadas individualmente à mão pelo artista, nesta obra se reproduz e multiplica-se a imagem de um passaporte percorrido pelas traças e cupins de seu falecido avô. Por mais que o processo da gravura lance uma fidelidade seriada de imagens, o ato unitário de colorir traz à tiragem sutis desvios a exatidão, atribuindo a essas cópias pormenores que as singularizam.
Registro da obra presente na exposição Desterro Desaterro - arte contemporânea em Santa Catarina, com curadoria de Josué Mattos, em celebração aos 70 anos do Museu de arte de Santa Catarina (MASC) reunindo artistas de diferentes gerações que nasceram, vivem ou deixaram marcas no estado.
Visitação até 22 de julho, de terça a domingo, das 10h às 21h
Onde: Centro Integrado de Cultura (CIC). Av. Gov. Irineu Bornhausen, 5.600. Agrônomica - Florianópolis/SC.
Quanto: gratuito
Classificação indicativa: livre.
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Descaminho
Drypoint
2018
Along the investigation process of Jan M.O. on some elements of his family, in “Descaminho” the artist continues the production of prints which stamp the objects, rituals and experiences that embrace the universe of his paternal grandmother. Through drypoint etching and later individually hand painted by the artist, this work reproduces and multiplies the image of a passport traversed by the moths and termites of his deceased grandfather. Although the engraving process presents an accurate serial of images, the singular act of coloring brings out to the printing subtle preciseness distorts, attributing to these copies details that make it unique.
Jan M.O.
2018
#janmo #jan #masc70anos #masc #museudeartedesantacatarina #desterrodesaterro #descaminho #artecontemporanea #centrointegradodecultura #plexigass #engraving #florianopolis #etching #intaglio #drypoint #gravura #puntaseca #pontaseca #josuemattos #exhibition #contemporaryart #espacodasartes #printed #printmaking #exposicao #art #arte #artshow #brazil
Here are a series of prints made from an etching with 2 of them painted with watercolors. ( 10 x 6). Etchings done on plexiglass.
I have tryed the electrolytic etching following Dauvit's (The Justified Sinner) guide. I etched a little iron piece, a pendant. First I covered it by celltape and nail warnish. Then I attached it to the + (!!!) end. The - end was attached to a steel bar, and all immersed into overconcentreted salt solution. I used 6 V. 12 V would heat up the system too quickly, and it would demage the warnish coat.
new etching. i'm really impressed! things worked out a lot better then i was expecting with this. multilayer stencil (7 layers) converted to a steel plate etching. A3 size.
only concern i have is whether there needs to be more tone in the bandana and face... more clarity.. hmm
let me know what you cats think!
new stencil thanks to the amazing photography of Antitezo: www.flickr.com/photos/antitezo/
Seldom 08!
part of my solo exhibition 'All of This is Anything' at the Glasgow Print Studio October 23-November 29, 2015
11. Karl Joseph Geiger (Vienna, 1822 - 1905 ibidem)
Illustration on Franz Schubert's song cycle Die Schöne Müllerin/the Beautiful Miller-Girl
1900
Watercolor, ink, preliminary drawing with pencil, on paper
Purchase from the artist (?), Vienna, 1900
11. Karl Joseph Geiger (Wien 1822 - 1905 ebenda)
Illustration zu Franz Schuberts Lied-Zyklus Die Schöne Müllerin
1900
Aquarell, Tusche, Vorzeichnung mit Bleistift, auf Papier
Ankauf vom Künstler (?), Wien, 1900
On the history of women's studies at the Academy of Fine Arts Vienna
1897
Conservative journalist A.F. Seligmann founded the art school for women and girls and taught there as a single teacher 16 students in the "Curs for head and act". 1898 expands the school: Tina Blau, a former teacher of the Munich artists association conducts 1.1.1898 a "Curs for landscape and still-life", which she held until 1915. Richard Kauffungen was nominated for sculpture, Ludwig Michalek led the "Curs for head and act" as well as an Radierkurs (etching course), Adolf Böhm the course for decorative and applied arts, Fabiani teaches ornamentation and style of teaching as well as "Modern home furnishings", Georg Klimt taught metalwork, Friedrich King wood cutting art and Hans Tichy from 1900 the drawing and painting from the living model. In all these teachers are moderate modern artists from the area of the Secession. The theoretical lectures are held in the company founded by Emil Zuckerkandl and Julius Tandler 1900 "Association of Austrian university lecturers Athenaeum", which had the task to be "an educational institution for members of the female sex". The first school year was completed with 64 students, the school is rapidly expanding, so that it forms 200-300 students annually within a few years. The steady growth is due to the restrictive attitude of the public schools of art (especially the academy) towards women, but also from the indiscriminate admission of which have been blamed all the private schools also on the part of women harshly, and just by women.
1904
The Academy of Fine Arts Vienna is one of the many requests for opening the Academy for students once again putting the old arguments against that women are rarely equipped with creative spirit in the field of great art and the other a "proliferation of dilettantism and a pushing back of male members" is to be feared. Just the idea of a joint education had "abhorred" the College. The Academy therefore advocates for the financial support of the art school for women and girls, and rejects the application for opening the academy for women unanimously. The main argument for the impossibility of the joint Aktzeichnens (nude drawing) and the need for a second Aktsaales (nude hall) is increasingly mentioned, which cannot be realized because lack of space and lack of money. Henni Lehmann (Artistic studies of women, Darmstadt 1913) countered the same argument in Germany: "The common nude studies of women and men can not be described as impossible as it is done in many places, without having shown any grievances". The objection of the Quorum of the Berlin University professors that no teacher could be forced to teach women at all in such delicate subjects is countered that the problem was easily solved by entrusting a lady the Aktunterricht (nude drawing) in ladies. Suitable artists were plentiful present. That the life drawing for a long time (until 1937) remained problematic, shows the application of the renowned sculptor Teresa F. Ries of 1931, in which she was offering the Academy her services for the purpose of the management of a yet to be affiliated department, where young girls separated from the young men could work under the direction of a woman. The application was not even put to a vote.
1912
The rector of the Munich Academy also does not believe in the inclusion of students (female ones): "... it is impossible, even with regard to the space conditions, apart from that that the aspirations of the artists who devote themselves to the arts especially are usually others than that of women..."
1913
No significant change in attitude can be found between the opinions of the Academies from 1904 and those of 1913.
1919
In the report from the College's meeting of the Academy of Fine Arts Vienna to the State Office of Internal Affairs and Teaching is communicated that against the requested admission there were no fundamental objections, but that the Academy is so limited in spatial relationship, that after the experiences of the last entrance exams not even the majority of gifted young artists, capable of studying, could be included, and therefore, in case of the admission of women to the study initially had to be made a considerable expansion. The State Office counters that a further delay in the admission of women to the academic study could not be justified and that approval is to allow at least temporarily in a narrow frame.
1920
The State Office for the Interior and Education officially approved the admission of women to study at the Academy of Fine Arts Vienna (since 1919 women were admitted to all faculties of the University of Vienna, with the exception of the Catholic and Protestant Theological Faculty).
A committee consisting of the professors Bacher, Delug, Schmutzer, and Jettmar Muellner claims that the Academy has never pronounced in principle against women's studies but have always only expressed reservations because of the cramped space and financial situation. As a complete novelty proves that no more concerns are raised with regard to coeducation. Men and women should compete in the entrance examination. In the winter semester 1920/21 will be included 14 women, of course, representing only a small minority in relation to the 250 male students.
1926/1927
In the new study regulations are for the first time mentioned Schüler (M) and Schülerinnen (F).
March 1927
Report of the Academy of Fine and Applied Arts about the experiences regarding the access of women to universities: ..."in past years it was thought for the education of women and girls by the Academy of Women for Liberal and Applied Art, which is also equipped with academic classes and by the State subsidized, sufficiently having taken precautions: during a period of almost seven years of study, it was probably possible to get a clear picture about the access applications of women, and about the degree course ... Of course, the number of female candidates in the painting is strongest, weaker in sculpture, and very low in the architecture. As much already now can be said, that in no way in terms of education in the new admissions the women are left behind the male candidates. During the study period, the female students are not in diligence and seriousness of studying behind their male colleagues. Particularly gratifying can be emphasized that because of the co-education of both sexes in common rooms in the individual schools a win-win situation for everybody was. In the master schools the College was repeatedly able also honouring women with academic prices. Subsuming, it should be emphasized that our experiences with the study of women in the Academy of Fine Arts were quite favorable."
The number of students (Studentinnen) increased from 5 % in the winter semester 1920/1921 till 1939/1940 to about 25 %. After the annexation of Austria to Nazi Germany, the number of students (Studentinnen) decreased. The proportion of female students rose after 1940 naturally, reached during the war years up to 70 % and amounted 1945/1946 to 65%. From 1946/1947 the number of students (Studentinnen) fell sharply again, so 1952/1953 only 20% of the students at the Academy were women. 1963/1964 there were, however, already 41% (278).
2002
Students (Studentinnen): 570 of 936 students
University professors (Universitätsprofessorinnen): 9 out of 29
Ao Univ. (extraordinary female professors) 2 of 12
Univ.Ass. (female university assistant) 18 of 41
Contract teachers (Vertragslehrerinnen): 3 of 7
Lecturer (Lehrbeautragte): 32 of 46
Almut Krapf
www.akbild.ac.at/Portal/organisation/uber-uns/Organisatio...
New Blades trophies made the the 4D modelshop workshop using laser cutting & engraving, photo etching and resin casting services
- Presse à gravure French American, lit de 77 x 133 cm
- Presse à gravure French American, lit de 102 x 178 cm
- Presse à gravure Conrad Machine, lit de 81 x 153 cm
- Bassin de trempage de 97 x 135 cm
- Bassin d'acidulation (bras de ventilation amovible)
- Plaques chauffantes (3)
- Boîte d’aquatinte
- Rouleaux de gravure à deux poignées
- Rouleaux de gravure à une poignée
- Langes
-Table d’exposition pour plaque 46 X 61 cm
-Bassins d’acide verticaux
LETTERPRESS
-Presse à platine 7.5 X 13 cm
-6 ensembles de caractères et fournitures
-composteur, clef et couteaux
*
- French American etching press, 77 x 133 cm press bed
- French American etching press, 102 x 178 cm press bed
- Conrad Machine etching press, 81 x 153 cm press bed
- Paper soaking sink, 97 x 135 cm
- Acid bath with movable ventilation trunk
- 3 heating plates
- Aquatint box
- Various hand rollers
- Various brayers
- Felts for press bed
- Exposure unit for plates, 46 x 61 cm
- Vertical acid bath
LETTERPRESS
- Platen press, 7.5 x 13 cm
- 6 sets of type and furniture
Copyright © ENGRAMME 2009
Copyright photo.
Picasso line drawing at the Picasso Museum Antibes, photo 2012.
Young sculptor at work.
Enlarge
Click diagonal arrows and press F11 Fullscreen.
(or use flickr's + cursor and move mouse.)
[This is part of the Alpes-Maritimes - 2012 Set.]
.
From my "More Rough Travel Notes with an Architectural Eye":
"The Provençal open-market is close to the coast, but right alongside, above the rocky sea-edge stands the old Grimaldi Castle — its pale-stone form clustering up and climaxed by a high blunt tower which marks the prow of Antibes. A play of cream geometries and shadows, I’d once explored its then-rugged spaces and light. But prior to that it had been used by Picasso as a large studio when he was living in the area. Today it’s a noted Picasso Museum housing works he’d gifted from that time. So we have to queue to get in. Then what do we find? Neat white walls displaying works of several French artists contemporary with Picasso. Significant, but hanging on his coat-tails. Were there not enough of his works, or was it French cashing in? The building is now organised bureaucratically, but we find some delightful line sketches by Picasso, and a few of his abstracted sculptures. He’d spent time here developing robust and colourful ceramics, but I only found one square-framed wall-mounting of what had been bold-painted colour-glaze platters now lost under sheet-glass reflection. And what of his superb goats? The black goat had sustained many ancient generations of the Mediterranean, even while destroying all greenery. Picasso could sketch a line in an instant which captured the very essence of the goat, and hence history of humankind. (Later he produced bronzes such as the one at MoMA in my flickr photos.) I didn't see a goat sketch at the Antibes Museum, though they had picked up his Mediterranean mythology in other aspects. Although “French organisation” is surely an oxymoron, here it seemed to me, grumpily, that they’d overdone it, missed or lost the very essence of Picasso. Surely he was nothing if not spirited and spontaneous. And the creative touch of hand. “Picasso on the rocks” I used to call this lively setting — but is the interior now the opposite? Needless to point out, Picasso wasn’t originally French either. A. A. Gill would be Acid and Acerbic.
Well worth the visit, but ....... "
.....
P ©
Young sculptor at work .
plate 46 of the Vollard Suite. Etching. March 1933.
The etchings show Picasso's developing interest in sculptural form in the 1930s.
Subsequently at the BM:
www.britishmuseum.org/about_us/news_and_press/press_relea...