The Collateral Transfers of Soft-Ground Etching (original) (raw)
Related papers
2012
This book surveys the history of the techniques of engraving, etching and plate printing – ie that of manual intaglio printmaking processes – from its beginning in the 1430s until today. These developments are observed in the light of the coherence between the technique of the intaglio print (such as its materials and methods of production); the ‘style’ or outward appearance of the print; the creator of the print; and the fashion typical of a particular social group, place and time. Economic, educational and social aspects are discussed, as well as the dissemination of the trade of intaglio printmaking. Find a list of ERRATA (2022) on this Academia page. For further details check here: https://tulip88x.wixsite.com/ad--stijnman/recent-publications and scroll down.
The etching class at the Malta government school of art : its setting and running by Carmelo Mangion
2014
Chapter 2. The Novelties of Carmelo Mangion: The Artist-The Etcher-The Teacher of Etching at the Government School of Art…...………………………10 2.1. Mangion the Artists, his background and influences…………………………...10 2.2. Mangion the Etcher……………………………………………………………..12 2.3. Influences in Mangion's Etchings……………………………………………...15 2.4. Mangion the Teacher of Etching at the Government School of Art……………18 Chapter 3. The Technique of Intaglio as part of the Curriculum at the Government School of Art………………………………………………………...26 3.1. The Technique of Intaglio Printing……………………………………………..26 3.2. The Technique of Etching………………………………………………………29 3.3. The Techniques of Drypoint, Aquatint and Monotype….……………….……..31 iv Chapter 4. The Collection of Intaglio Plates at the Government School of Art..35 4.1. Methodology……………………………………………………………………35 4.2. Condition of the Intaglio Plates………………………………………………...36 4.3. Copies after the Great Masters…………………………………………………38 4.4. Still-Life's.……………………………………………………………………...42 4.5. Landscapes, Seascapes and Robert Caruana-Dingli……………………………43 4.6. Architectural Scenes and Portraiture…………………………………………...45 4.7. Other Work……………………………………………………………………..46 4.8. Admiration for the Etching Class………………………………………………47 4.9. Examination Results and the prospects of the Etching Class…………………..48
Extended Printmaking: (Im)Pure Print practices | Gravura prolongada: Práticas impuras
Pós-Limiar, 2019
This article seeks to reveal how the Pure Print International Printmaking Meeting may contribute with new insights towards the current quest for a relevant printmaking practice. The meeting was converted into a research platform, allowing a compilation and experiment with our desire for a full printmaking experience. Refusing a linear technological progression and rigid research plans, we moved into an impure practice seen as a transition into an intermedia experience. Slowly, we embarked on a series of experiments to pursueprocesses that have the potential of a photographic reproduction and looked back at a past where terms as “chemical printing” referred to the print capacity to literally transfer a drawing as first found in stone lithography. In the end, multiple technological incursions and cross academic contributions confirmed how printing research may be used to make the production of contemporary artistic printing practices easier and expand their aesthetic possibilities. Mo...
Printmaking – new and old technologies – a conversation
PORTO ARTE: Revista de Artes Visuais, 2013
This paper, through a conversation between Professor Coldwell and Dr Laidler, considers the ongoing relationship between old and new technologies within fine art printmaking. In particular it explores how ideas move between virtual and real, and the need for printmakers to engage with physical objects. As case studies both authors reflect on the making of particular works, Laidler’s Laser engraving "Murmurs from Earth" and Coldwell’s laser cut relief prints "Lines and Branches".
Tricks of the Trade: The Technical Secrets of Early Engraving
Visual Cultures of Secrecy in Early Modern Europe, 2013
A n essay on engravings and secrets might be expected to start from a print like Albrecht Durer's Melencolia I (1514) (see in "Introduction"), representative of a new class of objects produced for often solitary, if not wholly private, contemplation, enjoyment, and even deciphering.' lndeed, the very foundations of the iconological hermeneutic might be traced through precisely such an image, in which symbols and ciphers yield their meanings through the painstaking and deliberate work of scholarly decoding. This essay, however, treats the technical secrets of engraving and will begin instead with another of Durer's prints from the previous year} the Sudarium with Two Angels ( .1)2 The legend of the veronica, or sudarium, a miraculous imprint of Christ's visage on cloth, served as the inspiration for countless devotional paintings and prints throughout the fifteenth and sixteenth centuries' The sacrality of this relic was tied not only, or even principally, to the fact that it preserved a record of Christ's features, but rather to the miraculous means by which that image was transferred to cloth without the intermediary of a human craftsperson. Joseph Koerner has provocatively connected the miraculous record of the holy face on the veil to the processes of Renaissance printmaking, observing that "Durer thus fashions the Christian non manufactum to mythicize the process and the product of printing:" Though Koerner's likening of the angels in Durer's later etched Sudarium ( .2) to printmakers hanging their fresh pages to dry has aroused skepticism, the comparison is hardly inapt.'
Engraving as an Artistic Issue
Why exhibit engravings? Is engraving an art? Old doubts, which remain intact in the minds of many. And yet, engraving has lived with us for centuries, in books, on the walls of our houses, in the maps that enlighten us about the ways of the world. This prosaic proximity has drawn us away from its artistic nature. And yet, in spite of massification, the presence of engraving in our daily lives has rarely been modest. Apparently simple to define (a technique that employs an engraved material to make prints) reality proves to be richer and more surprising. In this text I aimed to explore the history of this discipline — so closely related to drawing — and to take the pulse of some contemporary approaches to its artistic nature.
Print, making and the work of art alone
2016
This paper will consider the relationship of print to the transmission of ideas through the multiple. This will include the changing role of the print studio and how artists are increasingly viewing print as an opportunity to produce work, which is distinct and resolved within the medium of print. I want to look at the changing role of print, not only for the way it can be the meeting place for technologies, but also for its position as a place of cross over between commercial and the aesthetic worlds. Furthermore, how artists are increasingly viewing print as an opportunity to produce work, which is both distinct and resolved within the medium of print. The history of printmaking covers a broad range of concerns, from those artists who have sought expression through the particular nature of the medium as well as those for whom print's capacity to produce multiple images has been paramount. Of course print has always engaged a wide audience; that audience early on would have included those for whom the written word was out of their sphere, either through illiteracy or class. In medieval times, the small woodcut, cheaply printed and often sold at fairs would function not only as a souvenir but as means to understand the feeling of, for example, the gospels or connect with the potency of a particular saint with the print functioning as devotional object. Increasingly, it was through print that not only aesthetic ideas became currency, but also cartographical, philosophical, anatomical, medical etc. all translated through the skills of printmakers into images that could be reproduced and distributed. Printmaking has always had this mixed history. It has both its own fine art history, articulated by the mantra of key figures such as Durer, Rembrandt, Goya, Degas, Picasso, and Warhol etc. and with their association with particular technical innovations, etching, aquatint, lithography, silkscreen, describe a different set
Traditionally, the history of printmaking has fallen in the space between art history and the history of the book. Often ‘reproductive’ and multiple in nature, prints have long been marginalized in art historical scholarship in favour of the traditional ‘high’ arts. The inherent complexities in the manufacture and sale of print, often involving multi-faceted networks of specialist craftsmen, artists, publishers and sellers, has also led to much confusion. Not knowing how prints are made has affected our ability to understand the medium and its aesthetic qualities. However, recent scholarship has opened up new avenues for placing prints in Renaissance and Early Modern Europe. From the techniques applied in the making of prints to the individuals involved in their production, distribution and use, current research is continuing to shape our understanding of this complex field. This two-day conference, in collaboration with Print Quarterly, aims to showcase new developments in the study of prints, challenging and developing traditional approaches. It is organized around a series of panels dedicated to different themes and is accompanied by a pop-up display in the Courtauld's Prints and Drawings Study Room: 'Courtauld Prints: The Making of a Collection'.