Tag: lithography

Dan Hiller

Engravings by Dan Hillier

Dan Hillier is a professional artist based in Stoke Newington, England. He produces his own pictures as well as making commissioned artworks for various clients including Neil Gaiman. Most of his work is made from collaging found Victoriana with his own ink drawing, as well as producing original ink drawings using dip-nib pen and ink.

Dan is acclaimed for his black line engravings that embody the ‘Steampunk’ aesthetic, combining Victorian sensibilities with a fascination for animal attributes. His work is characterized by depictions of fantastical human/animal hybrids, spliced together from late-1800s imagery. These beautiful, classically rooted images find their power in their unsettling effect, as they seamlessly blur distinctions normally implied by reality.

Visit his site if you get a chance: http://www.danhillier.com

Larry Vienneau Jr.

Larry Vienneau Jr., “Ravens Like Shiny Things”, 2010, Intaglio Etching, 5 x 7 Inches

Larry Vienneau Jr. is a  Professor of Art at Seminole State College of Florida. His beautiful prints of ravens are available for sale. Please visit his site to see more etchings and find information on his etching process. I have a space on my wall for some of these.     https://www.etsy.com/shop/RAVENSTAMPS?section_id=7757924&ref=shopsection_leftnav_2

Please credit the artist if you reblog these images. Thanks.

Reynold Weidenaar

Etchings by Reynold Weidenaar

Reynold Weidenaar was born in Grand Rapids in 1915. He studied at the Kendall School of Design and then at the Kansas City Art Institute. He won national awards while still a first year student. After moving back to Michigan from Kansas City, he quickly achieved fame and acclaim. He taught at Kendall School of Design for many years, but is best known for his exquisite black and white mezzotints. Reynold Weidenaar was internationally acclaimed for his work, focusing on local scenes, humor and satire, his personal worldview and politics in his work.

Reynold Weidenaar was a master of a technique known as intaglio printing.  In this type of printing, the artist uses special tools to etch an image into a metal plate.  The plate is then coated with ink, a piece of paper is placed on top, and the whole thing is run through a printing press, which transfers the image to the paper.  In order for the image to come out correctly, the artist much etch everything into the metal plate backwards.  This is especially impressive when you consider the detail and complexity present in many of Weidenaar’s prints.

Marcantonio Raimondi

 

Marcantonio Raimondi, “The Climbers”, Engraving, 1510

Marcantonio Raimondi,was an Italian engraver, known for being the first important printmaker whose body of work consists mainly of prints copying paintings. He is therefore a key figure in the rise of the reproductive print. He also systematized a technique of engraving that became dominant in Italy and elsewhere.

Around 1510, Marcantonio travelled to Rome and entered the circle of artists surrounding Raphael. This influence began showing up in engravings titled “The Climbers” (in which he reproduced part of Michelangelo’s “Soldiers Surprised Bathing”, also called “Battle of Cascina”). After a reproduction of a work by Raphael, entitled “Lucretia”, Raphael trained and assisted Marcantonio personally.

Around 1524, Marcantonio was briefly imprisoned by Pope Clement VII for making the I modi set of erotic engravings, from the designs of Giulio Romano, which were later accompanied by sonnets written by Pietro Aretino. At the intercession of the Cardinal Ippolito de’ Medici, Baccio Bandinelli and Pietro Aretino, he was released, and set to work on his plate of the “Martyrdom of St. Lawrence” after Bandinelli.

Antonio Pollatoli

Antonio Pollatoli, “Battle of the Nudes”, circa 1470-75, Engraving, 42.4 x 60.9 cm, National Gallery of Art, Washington DC

“The Battle of the Nudes” or “Battle of the Naked Men”, circa 1465–1475, is an engraving, one of the most significant old master prints of the Italian Renaissance, executed by the Florentine goldsmith and sculptor Antonio del Pollaiuolo, also known as Antonio Pollatoli. The engraving is large at 42.4 x 60.9 cm and depicts five men wearing headbands and five men without, who are fighting in pairs with weapons, pictured in front of a dense background of vegetation.

All the figures are posed in different strained and athletic positions; in this aspect, the print is advanced for this period of the Renaissance. The style is classical; although, the figures are shown grimacing fiercely and their musculature of their bodies is strongly emphasized. An effective and largely original return-stroke engraving technique was employed to model the bodies, which resulted in a delicate and subtle effect.

Paul Landacre

Paul Landacre, “Children’s Carnival”, Etching, No Date, 8.5 x 12 inches, Smithsonian American Art Museum, Currently Not on View.

Paul Hambleton Landacre, born in 1893 in Columbus, Ohio, participated in the Southern California artistic Renaissance between the world wars and is regarded as one of the outstanding printmakers of the modern era. His stylistic innovations and technical virtuosity gained wood engraving a foothold as an art form in twentieth-century America.

Landacre’s linocuts and wood engravings of landscapes, still lifes, nudes, and abstractions are marked for their design and mastery of material. He used the finest inks and Japanese papers and, with a few exceptions, printed his wood engravings on a nineteenth-century Washington Hand Press, which is now in the collection of the International Printing Museum in Carson, California.

Jim Dine

Tool Series: Etchings by Jim Dine

Jim Dine’s work has been the subject of major surveys and retrospectives in venues spanning the globe, and he is represented in museum collections worldwide. While others have often associated his work with the Pop Art movement of the mid-20th century, his fascination with popular imagery and everyday objects has always carried a more personal component.

Dine has extensively explored particular themes in a variety of media throughout his career, such as the universal symbol of the heart and images of tools. These themes have acquired the status of personal iconography and he claims them as part of his vocabulary or his “glossary of terms.”

Jim Dine believes that tools provide a ‘link with our past, the human past, the hand’. They feature in many of his works, and can be seen as a symbol of artistic creation. There is also an autobiographical resonance, as Dine’s family owned a hardware store in Cincinnati.

Kyoko Imazu and Damon Kowarski

Etchings from Copper Plates by Kyoko Imazu and Damon Kowarski

Kyoko Imazu and Damon Kowarsky have worked together since 2010. Their prints are made using a simple collaborative system. Damon gives Kyoko a drawing, to which Kyoko adds her own interpretations. The resulting image is then etched onto copper plates and printed by hand. Together, they have produced works of great subtlety, variety and humour exploring themes such as nature, science, art and technology.

The prints in this exhibition grew out of the zine “Talking of a Chameleon”, which was made in response to a zine commission by IMPRINT magazine in March 2011. Since then, the zine has been part of fairs in London, Perth and the Czech Republic.

Yoko Imazu holds a Bachelor of Fine Art in Printmaking, a Diploma of Visual Arts, and a Certificate in Foundation Studies Art in Design and Communication, all from RMIT in Melbourne.  Damon Kowarsky studied printmaking at the Victoria College of the Arts (VCA) and Glasgow School of Art, and Advanced Figure Drawing at RMIT. He holds a Bachelor of Fine Art, Honors, in Printmaking from VCA.

Paul Landacre

Wood Engraving Landscapes by Paul Landacre

Although he took some life-drawing classes at the Otis Art Institute between 1923 and 1925, Paul Landacre largely taught himself the art of printmaking. He experimented with the technically demanding art of carving linoleum blocks and, eventually, woodblocks for both wood engravings and woodcuts. Landacre’s fascination with printmaking and his ambition to make a place for himself in the world of fine art coalesced in the late 1920s when he met Jake Zeitlin.

Zeitlin’s antiquarian bookshop in Los Angeles, a cultural hub that survived into the 1980s. included a small gallery space for the showing of artworks, primarily prints and drawings. It is there in 1930 that Landacre was given his first significant solo exhibition. Zeitlin’s ever-widening circle of artists came to include Edward Weston, a photographer who shared the modernist vision that so captivated Landacre. Well-connected to the New York art scene, Zeitlin associated himself with the circle of artists represented by Carl Zigrosser, director of the Weyhe Gallery in Manhattan and, later, curator of prints at the Philadelphia Museum of Art.

By 1936 Zigrosser considered Landacre to be “one of the few graphic artists worth watching” in America, and included him among his portraits of 24 contemporary American printmakers in his seminal work, “The Artist in America” (Knopf 1942). Elected a member of the National Academy in 1946, Landacre was honored in 1947 with a solo exhibition of his wood engravings at the Smithsonian Museum, its graphic arts division under the curatorial leadership of Jacob Kainen.

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Pablo Picasso

Pablo Picasso, “Elergy of Ihpetonga”, Lithograph, 1954

This rare and exquisite lithograph was one of four ink wash drawings executed by Picasso on lithographic transfer paper and printed by Mourlot Freres. This is from the English edition of 64 published in New York by The Noonday Press in 1954 for “Elegy of Ihpetonga and Masks of Ashes” by Yvan Goll.

Ihpetonga was the name given by the Canarsie Indians to the part of Brooklyn now known as Columbia Heights. Printed on Arches wove paper with deckle edges, the sheet measures 13 x 9 7/8 inches (330 x 251 mm). The lithograph was issued by the publisher tipped (mounted at the top corners) onto a support sheet of black paper. Not signed.

Tsukioka Yoshitoshi

Woodcut Prints by Tsukioka Yoshitoshi

Tsukioka Yoshitoshi (月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年)  was a Japanese artist who lived from 1839-1892. He is widely recognized as the last great master of the ukiyo-e genre of woodblock printing and painting. Yoshitoshi is also regarded as one of the form’s greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.

By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, Yoshitoshi almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.

His life is perhaps best summed up by John Stevenson: “Yoshitoshi’s courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory.”

—John Stevenson, Yoshitoshi’s One Hundred Aspects of the Moon, 1992