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19th &
20th Century Masters
- Artists who lived and
produced during the 19th and 20th Century.
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ACID
BATH
- In
ETCHING,
the container or tray of mordant in which the object to be
etched is immersed. In etching metal plates for
printing, the tray containing the mordant must be of an
acid-resistant material, such as porcelain or glass.
ACRYLIC
PAINT
- Properly acrylic vinyl
polymer emulsion paint is an entirely new synthetic
paint which allows a combination of the traditional oil and
watercolor techniques. It is a plastic emulsion which is
soluble in water, so that very thin, transparent, washes can
be applied, as in classical watercolor. At the same time, it
is possible to apply a very thick impasto and there is also
a special polymer medium that has a function similar to that
of oil in oil painting. The synthetic substances are said to
be permanent and to adhere to almost any surface, but it is
perhaps early to judge this.
ACRYLIC
RESIN
- Any group of synthetic
resins made by polymerization of acrylic esters.
Polymethyl methacrylic in solid form, best known by the
trade names Plexiglas and Lucite, is a permanent,
non-yellowing, glasslike plastic that is frequently used in
modern sculpture and constructions. It may be cast,
extruded, machined, and welded or shaped by heating.
AQUATINT
- Aquatint is a tone process
used to give the impression of color washes. In this process
the plate is partially protected with a porous material,
such as a cheesecloth bag. Resin is dusted through the
bag onto the plate. The plate is then heated, and the
particles adhere to the surface. The image is then
immersed into an acid bath , and the acid bites tiny rings
around each resin grain. These rings hold enough ink
to print a kind of wash area. The printer uses a
protective varnish on the areas he wants to leave light.
The plate then receives another acid bath. Gradually,
the tones are achieved by repetitive bitings and varnishings
of the plate. Aquatint is usually employed in
combination with line etching.
- Like
mezzotint,
aquatint is a tone process rather than a line method, but it
is admirably adapted to the rendering of transparent
effects, such as watercolor gives. It is basically a form of
etching, but using a porous ground that the acid can
penetrate to form a network of fine lines. Any pure whites
are stopped out in the usual way before biting begins, then
the palest tints are bitten and stopped out, and so on as in
etching. Variations of texture can be obtained by pressing a
piece of sandpaper on the grounded plate, mixing sugar with
the ground, or attacking the plate with sulfur
('sulphurtint').
ARCHES
- A type of high quality
heavy paper often used in printmaking and drawing
ARTIST'S
PROOF
ART
DECO
- A style of design and
decoration popular in America and Europe in the 1920's and
1930's. While essentially an offshoot of
ART
NOUVEAU, unlike its predecessor, the characteristic
patterns or designs of art deco are geometric, not
naturalistic, in style, reflecting the rise of industry and
mass production in the early 20th century.
ART
NOUVEAU
- A `new art´ which spread
across Europe and America the 1890s. It. was mainly a style
of architecture and interior decoration (Horta, van de
Velde) and flourished in Belgium and Britain especially,
using flat patterns of writhing vegetable forms based on a
naturalistic conception of plants rather than a formalized
type of decoration. Cast iron lilies and copper tendrils are
still with us, as is furniture with heart shaped holes in
it. The posters of Mucha popularized the style commercially
in Germany and Austria. The movement was called `Jugendstil´,
after a magazine `Jugend´ (youth), which was first
published in 1896; in Italy, where it had a great vogue
particularly in ironwork and in decoration- especially in
Milan, Turin, Genoa, Mantua- it is known as "Stile
Liberty", after the famous London store.
ATELIER
(Fr. STUDIO)
- The atelier is a common
feature of the Continental art world. It is a studio, open
freely but not free, which provides a nude model in fixed
sessions, but no tuition or control. The most famous was
opened c.1825-30 in Paris by a model called Suisse, and was
used by Delacroix, Courbet, Manet, Monet, Pissarro, Cezanne,
and other Impressionists. The Atelier Julian, opened in
Paris in 1860, was not an atelier libre since it
provided a teacher, though it was more liberal than the
official Ecole des BeauxArts, for which it often served as
forcingground or alternative. Most of the NABIS worked at
the Julian, as did Matisse, Derain, and Uger. Sometimes
these ateliers libres are called Academies.
AUTOGRAPH.
- A painting or other work of
art is said to be autograph when it is thought to be
entirely from the hand of the artist to whom it is
attributed. In the case of frescoes or other very large
undertakings it can hardly be expected that the artist
should execute every part with his own hand, but the
expression 'Studio of in connection with smaller works
indicates a desire not to suggest that the work is a copy.
In Some cases, especially that of Rubens, one often finds
that the original sketch is autograph and the execution of
the finished, large, canvas was entrusted to assistants
overseen by the master, who usually added the final touches.
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BAROQUE.
- The style that succeeded
mannerism and lasted, though with profound modifications,
until well into the 18th century. The style is seen at its
purest in the so called 'High Baroque', which is virtually
confined to Italy (to Rome even) and to the period c.1630,
that is, roughly, the maturity of its greatest exponent,
Bernini The High Baroque, at its best and fullest, is a
union of the arts of architecture, painting, and sculpture,
acting in concert on the emotions of the spectator; inviting
him, for example, to participate in the agonies and
ecstasies of the Saints. Its blend of illusionism, light and
color, and movement is calculated to overwhelm the spectator
by a direct emotional appeal. Owing to its essential links
with Counter Reformation Catholicism, pagan antiquity, and
the Mediterranean generally, many Northerners are or
were until recently queasy about it. At the beginning
of the 17th century there was an upsurge of spiritual
confidence and a new direction in religious art which
combined with a new approach to classical art to create a
new style. The confused and flaccid forms of late Mannerism
gave place to the simple subject matter, the unidealized
naturalism, the uncomplicated iconography and strong
chiaroscuro of Caravaggio; the clarity of composition, the
revival of the balance and harmony of Raphael and the
tenderness of handling of Correggio, the nobility of form,
the directness of meaning and imagery of Annibale Carracci
Domenichino, Guido Reni, and Guercino. Of the painters of
the High Baroque, Lanfranco, Pietro da Cortona, Baciccio
and, at the end of the century, Padre Pozzo, specialized in
the florid and exuberant illusionism which is one of the
characteristics of the style, while Bernini pushed to their
furthest limits the use of painterly effects in sculpture,
the dissolved contour, the rendering of movement by means of
flickering light, the expression of the most profound and
passionately felt religious emotion. Some Roman artists,
such as Sacchi, Maratta, and Algardi were always more
restrained. Outside Italy, astute politicians like Colbert
Louis XIV's great Minister, were quick to see that the
religious style could easily be made to subserve autocratic
regimes, by the glorification of the monarch, but in this
process a good deal of pompous inflation was superimposed,
on the original religious fervour; and the French
exponents of the Baroque replaced its emotional qualities
with a conscious and frigid use of the antique. Even Rubens,
the greatest Northern Baroque artist, sometimes allowed
himself to be used in this way. The style lasted longest in
Catholic Germany and Austria, and had the least influence in
Protestant countries Britain, Scandinavia, Holland, and
although there are aspects of Rembrandt which place him
among the greatest of artists of the Baroque, and there is
certainly such a thing as English Baroque. In the
North it is still possible to use the term as one of simple
abuse (i.e.nonGothic, unRuskinian), but this is now confined
to the very old or the very unsophisticated. A more
dangerous misuse is as a synonym for 'Seventeenth Century'.
Late Baroque merges most imperceptibly into the Rococo and
the Age of Reason finally rejected both and produced
Neoclassicism.
BITING in
ETCHING
- The corrosive effect a
mordant has on the metal plate when the plate is placed in a
bath of acid. The composition, concentration, and
temperature of the mordant and its skillful application to
the plate determine the control of the process (that is,
depth, width, and evenness of the etched lines) and the
durability of the plate (that is, its ability to stand up
under the wear of printing a reasonably large edition).
The extent of biting is controlled not only by the nature of
the mordant but also by the length of time the plate is left
in the acid bath. After the plate has been left in the
mordant a while , it may be removed, and the lines that are
faintest may be stopped out before the plate is replaced in
the bath. The procedure is repeated, selectively
producing successively deeper lines until the plate is
etched to the artist's satisfaction.
BLOCK
PRINT
- An original print made from
a single carved wooden block, that is, a
WOODCUT
or a WOOD ENGRAVING. See
ENGRAVING
BUST
- In sculpture, a portrait
that includes the head, neck, and part of the shoulders and
breast, usually mounted on a base or column; in painting, a
portrait that shows the same portion of the figure,
including the upper arms.
BRONZE
- Was used as a material for
sculpture in ancient Greece, and Rome as well as in Africa
and China, but the art of casting seems to have become
almost lost in the Middle Ages, when effigies were made by
hammering thin plates of bronze on to a wooden core. Modern
bronzes are, made either in sand molds, or by the cire
perdue method, both these techniques being very ancient.
Sand casting is done by simply making a mold of special sand
from the original plaster model, inserting a core, and
pouring in the molten bronze. Cire perdue (Fr. lost
wax) is economical of bronze because it employs a model
which is a few millimeters smaller in all directions than
the enclosing mould, the space between being filled with wax
and vent pipes inserted at top and bottom. The outer side of
the wax is exactly what the desired bronze should look like;
and molten bronze is poured through the top vent, taking the
place of the wax that has previously been melted out. The
amount of wax run out serves as a guide to the quantity of
bronze needed. Any number of such casts can be taken. In
Renaissance times it was usual to work on the casts with
files and chasers, polishing and engraving the surface, but
it is now the fashion to prefer a rough surface, showing the
thumbmarks of the original clay model. PATINA is, the lovely
greenish tint and matte surface which age and chemical
reaction have imparted to Greek bronzes, but which is now
artificially created by chemical means.
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CANVAS
- A heavy woven fabric used
as a support for oil or acrylic painting.
CARVING
- In sculpture, the act of
cutting or incising wood, stone, or other material into the
desired form. A carved work may be called a carving, but the
word
SCULPTURE
is usually preferred for work of serious artistic intent.
CAST
- To reproduce an object,
such as a piece of sculpture, by means of a mold; also a
copy so produced. The original piece is usually of a
less durable material than the cast.
CATALOGUE
RAISONNE
CERAMICS
- The art of making objects
of clay and firing them in a kiln.
CHARCOAL
- A black crayon made of
charred twigs of wood, usually willow, or pieces of a vine.
It is available in various degrees of hardness and
thickness. Charcoal is a very old and universally used
drawing material. When used for itself in drawing, it is
usually applied on special papers, but it is also used for
preliminary drawings.
CHIAROSCURO
(Ital. Light-dark)
- As generally used,
chiaroscuro (or the French clair-obscur) means the
balance of light and shadow in a picture, and the skill
shown by the painter in the management of shadows.
A chiaroscuro woodcut is a woodcut, linocut, or other
similar engraving which is printed from several blocks, in
exactly the same way as a color print, in imitation of a
drawing in several shades of monochrome wash, each shade
being cut on a separate block. Intermediate tones may
be obtained by careful overprinting of two or more blocks.
COLLAGE
(from Fr. coller to stick)
- A picture built up wholly
or partly from pieces of paper, cloth, or other material
stuck on to the canvas or other ground. The device was much
used by the early
CUBISTS,
who would stick pieces of newspaper on to pictures painted
in an otherwise normal way, and by the Dadaists. In his last
years Matisse used pieces of colored paper as a complete
substitute for painting.
COMPOSITION
- The art of combining the
elements of a picture or other work of art into a
satisfactory visual whole: in art the whole is very much
more than the sum of the parts. A picture is well composed
if its constituents whether figures or apples or just shapes
form a harmony which pleases the eye when regarded as
two-dimensional shapes on a flat ground. This is the sole
aim of most abstract painting but in more traditional
forms the task is made much more difficult by the need to
project the forms in an ordered sequence into an imaginary
depth or picture space without losing their effectiveness as
a pattern. The word is often also used loosely to mean a
work of art, a group, etc.
CRAYON
(i)
- In ordinary English usage a
mixture of dry, powdered color with a wax binder, giving an
effect like
PASTEL,
but greasier and much less easily rubbed. It is
familiar from the drawings of small children. (ii) In
French, crayon is what in English is lead pencil.
CUBISM
- The parent of all abstract
art forms although itself avowedly a realist movement.
It grew out of the efforts of Picasso and Braque to replace
the purely visual effects of Impressionist preoccupation
with the surface of objects with a more intellectual
conception of form and color. Their starting point was
Cezanne, who had striven towards the same ends, but Cubism
carried much farther the ideas of the unity of the two
dimensional picture surface, and the analysis of forms and
their interrelation, since they deliberately gave up the
representation of things, as they appear in order to give
account of the whole structure of any given object and its
position in space. This meant, in practice, combining
several views of the object all more or less superimposed,
expressing the idea of the object rather than one view of
it. The first exhibition of such pictures was in 1907 in
Paris. The name Cubism was derisive, for it excited as
much opposition as Impressionism itself, or the then recent
fauvism: it was much influenced Negro art, by Picasso's
interest in Iberian sculpture, and by reaction in the
pattern-making of Fauvism. Gris, Leger, Delauny, and Derain
were among the early adherents and the new-aesthetic was
soon reached by two practicing Cubist painters, Gleizes and
Metzinger, whose 'Du Cubisme', was published in 1912 and
later translated into English while the poet Apollinaire
followed in 1913 with 'Les Peintres Cubistes'. The first
phase, under the influence of Cezanne, lasted from 1906 to
1909; the second, sometimes called High or Analytical
Cubism, lasted from 1909 to 1912 and excluded interest in
color or handling while concentrating on the breaking down
of forms; finally, Late or Synthetic Cubism (1912-14)
allowed a reemergence of tactile qualities, color, and
handling.
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DECOPAGE
- Decoration of a surface by
covering it completely with cut-out paper figures or
designs; also, an object so decorated.
DIPTYCH
- A picture consisting of two
parts
DIVINE
COMEDY
- The original intention of
the project was to produce a superb septecentennial edition
of The Divine Comedy to be published by La Libreria dello
Stato, Roma. To this end a prototype of four plates
was printed in 1954. The reception to the great Dali
watercolors met with a less than enthusiastic reception.
This was not because the illustrations were lacking in
strength or artistic merit, but because they were the work
of a Spanish painter! The jealous Italians did not
exactly relish the idea of their State Press
publishing their most famous poet's works with
illustrations by a Spanish artist. So politics
intervened and the lavish Italian edition was dropped.
DRY POINT
- A dry point is printed from
a metal plate into which an image has been scratched with a
sharp tool. The sunken lines are produced directly by
diamond-hard tools pulled across the plate rather than
having the acid bite the image into the plate. The
depth of the line is controlled by the artist's muscle and
experience. The method of cutting produces a burr.
This gives the dry point line a characteristically soft,
velvety appearance absent in the clean edged lines of an
engraving or etching.
- This is the simplest
technique of
INTAGLIO,
since it consists of drawing on the metal plate with a
'pencil' made of hard steel, or steel tipped with diamond,
ruby, or carborundurn. The great, quality of drypoint lies
in the burr, which is the shaving of metal turned up at the
side of the furrow. When burr occurs in line engraving it is
scraped off, but it is left in a drypoint because it
catches, the ink and prints with a richness which adds to
the directness of the artist's work. Unfortunately, it is
soon crushed by the pressure of printing, so that less than
fifty good impressions can be taken. Dry point is often used
to reinforce etching or even engraving; Rembrandt in
particular, often combined with etching.
- See
ENGRAVING
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EA
EDITION OF
- Identifies the number of
items (serigraphs, sculptures, etc) that were created during
the re-production process. See also
LIMITED
EDITION .
EMBOSSING
- The technique of creating
raised figures or designs in
RELIEF
on a surface.
EMERGING
ARTISTS
- For our purposes, an
emerging artist is defined as an artist who has exhibited
and proven himself as an artist of note, but does not yet
qualify as an
ESTABLISHED
ARTIST.
ENGRAVING
- An engraving is made by
incising a design into a copperplate with a tool called a
graver or a burin. As with dry point, metal shavings
are displaced, but in engraving the burr is removed with a
sharp blade before printing. The result is a much
cleaner image than that of the dry point or etching.
- A generic title often used
to cover all the methods of multiplying print, although
strictly the word should apply only to the second of the
processes described below. The first distinction to be drawn
is between Reproductive and Original Engravings. A
Reproductive Engraving being a means of divagating an idea
expressed in a painting, drawing, statue, or other medium,
invented, by an artist other than the engraver. An Original
Engraving is an independent work of art invented by the
engraver himself. The three main types of engraving may be
classified as (1)
RELIEF
or cameo, (2)
INTAGLIO,
and (3) Surface or planar. Each of these types corresponds
to one or more of the main techniques, and each type has a
special method of printing
EPOXY
RESINS
- A group of synthetic
thermosetting resins, developed during the late 1940's and
early 1950's, widely used in industrial molded products and
in baking enamels, and popular with sculptors. The
epoxies require a catalyst or hardening agent that is added
at the time of use. They are well adapted to molding
because the accuracy of reproduction. All sorts of
fillers- chopped fiberglass, fiberglass mats or fabrics- and
pigments are used with resins.
ESTABLISHED
ARTISTS
- For our purposes, an
established artist is defined as an artist who has been in
the art world for quite some time, has earned national and
international acclaim, and has works of art in major
museums, galleries, and/or private and corporate
collections.
ETCHING
- The artist covers the plate
with an acid resistant ground and then draws on the plate
with special sharp tools to remove the ground where the
design is to be. The plate is then immersed in an acid
bath which bites into the plate where the protective
covering has been removed. By leaving different areas
exposed to the acid for varying lengths of time , the
quality of the line bitten into the plate can be controlled.
The ground is then removed and the image the artist's hand
created is now etched into the metal. The finished
plate is then printed as described above in intaglio
printing.
- Referring to the
INTAGLIO
technique, the metal plate is covered with a resinous
ground, impervious to acid, and then the etcher draws on the
ground with a needle exposing the copper wherever he wants a
line to print. The plate is put in an acid bath, which eats
away the exposed parts, but subtlety is given by taking the
plate out of the acid as soon as the faintest lines are
bitten. These faint lines are then 'stopped-out' with
varnish and the plate rebitten until the medium-dark lines
are stopped-out in their turn, and so on. The first dated
etching is of 1513 (by Urs Graf), but the great period came
with the 17th century, culminating in Rembrandt, and the
process has been popular ever since. Soft ground Etching looks
like a pencil or chalk drawing because the ground is mixed
with tallow, and has a sheet of thin paper laid on it, on to
which the etcher draws directly with a pencil; part of the
ground sticks to the paper giving a grainy effect when the
plate is bitten.
- See also
ENGRAVING
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FAKES
AND FORGERIES
- The nature of these are
really self-evident, but there exist gray areas which
do not fall quite into the same category as the deliberate
and intentional fraud. Instances are the disputed
attribution. An amateur painter called George Constable
introduced himself to John Constable and became a friend of
his. Pictures by George Constable have become confused into
the true Constable oeuvre, not entirely innocently, and in
fact George Constable himself has been accused of assisting
the confusion. Often genuine replicas- for instance, those
made by John Dunthorne, whom Constable employed as a copyist
and assistant have been known to travel under the name
of the greater man, and have been distinguished from his
works partly on the evidence of quality, and partly by
pedigree or
PROVENANCE,
This type of confusion is even easier to create where the
major artist maintained a large and prolific studio. Rubens
is one example, where innumerable sketches, projects,
versions were produced by very skilled and experienced
assistants, and the tendency is to sail them all under the
master's colors. Another example is Rembrandt, who had
many pupils, who, at one time or another, endeavored
to imitate their teacher's handling, color, and style; and
whose works must now be distinguished from the true products
of Rembrandt's own hand. To the generality of
collectors, and even more so to dealers, the temptation to
see the geese as swans is almost irresistible, and as much
for motives of prestige as for merely pecuniary ones. There
also exists a whole category of repainted, over restored
pictures, where no satisfactory determination of authorship
can really be made, and which depend upon the eye of faith
to discern their genuineness. On the whole, the art
historian distinguishes these without difficulty; the real
problems occur when 'certificates of authenticity' are being
sought by a hopeful, and often generous, owner, though
nowadays the provision of these doubtful passports is only
solicited by the unsophisticated and supplied by the
cynical. They are, in fact, totally worthless. Some
forgeries are difficult to distinguish for instance,
the drawing copied by the counterproof method, where only
the recognition of the direction of the stroke which
converts a righthanded artist into a lefthanded one, may
sometimes betray the spurious nature of an otherwise
perfect-seeming example; or the false cast, of a bust, or a
medal, or a figurine, detectable only by careful analysis
with scales and calipers, and with a genuine example for
comparison. Some intentional fakes are betrayed by the
inclusion of colors Prussian blue, Viridian, the
Cadmium reds and yellows which were invented long
after the putative date of the picture; some by their being
painted on supports which were not available at the date at
which they appear to have been made mahogany panels,
for instance, before the mid18th century; or by their having
a craquelure which gives rise to suspicion. But these are
cases of detective work done by museum laboratories for the
specific purpose of nailing a forgery which has usually
suggested itself as spurious because of some inexplicable
dissonance between genuine, irreproachable examples and an
irrational or irreconcilable divergence. Most forgeries
'fall out' after about fifty years or so; in other words,
they conform to the popular image of the artist held at the
time the fake was made an instance of this is the
Botticelli forgery made during the Burne-Jones period. Later
generations, who see the artist quite differently,
distinguish between the true appearance of his work and the
ideas held about him by an earlier generation of admirers
and smugly wonder how their fathers could have been so
easily deceived.
FIGURATIVE
- Imagery, in painting,
drawing, and sculpture, that represents the human form by
means of a figure, symbol, or likeness.
FIGURE
- In the pictorial and
sculptural arts, a representation of the human body.
FINE
ART
- Art created primarily as an
aesthetic expression, to be contemplated or enjoyed for its
own sake. Examples of fine art include painting,
drawing, sculpture, print making, and architecture.
FINISH
- The surface appearance of a
work of art, such as a painting or sculpture, or another
such object.
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GOUACHE
- Opaque watercolor paint
(known to many people as poster paint). With gouache
effects very similar to those obtainable in oil painting may
be got with less trouble, so that a it is a useful means of
making studies for a large picture in oils; although it has
the effect of drying much lighter in tone than it seems when
wet. The medium lacks the peculiar charm of pure
watercolor, but has always been popular.
GRAVURE
- A generic term for any or
all
INTAGLIO
printing processes
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ILLUSTRATION
- A picture
especially executed to accompany a printed text, such as a
book or an advertisement, in order to reinforce the meaning
or enhance the effect of the text. A work of
originally created for another purpose may also be used as
an illustration if it is appropriate to the content of a
text.
IMPASTO
- A word, Italian by origin,
used to describe the thickness of the paint applied to a
canvas or panel. When paint is so heavily applied that
it stands up in lumps with the tracks of the brush clearly
evident it is said to be heavily impasted.
IMPRESSION
- A print from an
ENGRAVING.
A poor impression is usually caused by wear of the plate or
block, or by under inking.
IMPRESSIONISM
- The derisive name given to
the most important artistic phenomenon of the 19th
century and the first of the Modern Movements. The
name was derived from a picture by Monet, Impression,
Sunrise (1872: Paris) which represents the play of light
on water, with the spectator looking straight into the sun.
The occasion of the derision was the first Impressionist
Exhibition, held in 1874, when Monet, Renoir, Sisley,
Pissaro, Cezanne, Degas, Guillaumin, Boudin, Berthe Morisot,
and others held an independent exhibition. In fact,
the true aim of Impressionism was to achieve ever-greater
naturalism, by exact analysis of tone and color by trying to
render the play of light on the surface of objects.
The flickering touch, with the paint applied in small,
brightlycolored dabs, and the lack of firm outline, combined
with the brightness of the color, even in the shadows, and
the generally high key undoubtedly alienated the public. In
the course of time these technical devices became petrified
into a quasi-scientific method of applying paint
(NEO
IMPRESSIONISM) which was supposed to give the maximum of
truth optical truth to Nature: it also led
naturally to POST IMPRESSIONISM; that is, to a purely
artistic and anti-naturalistic movement. The great decade of
Impressionism was 187080, but most of the major figures,
such as Monet, Pissaro, and Sisley, continued to produce
masterpieces in a more or less Impressionist style for many
more years. Degas, Renoir, and Cezanne were only dubiously
Impressionists even in the 70s (many of the original group
felt that Cezanne was more than they could swallow) and they
very soon moved away from it. Cezanne said that he wanted to
make of Impressionism something solid and durable, like the
art of the Museums, thus clearly defining the main weakness
of the movement, its lack of intellectual rigor.
Nevertheless, most painting of the last 100 years has been
profoundly affected by it, and even the RA and the Salon
would nowadays be lost without it, There is a special Musde
de l'Impressionnisme in Paris and there is now also an
important collection in the Mus. Marmottan, Passy, Paris;
but the very nature of the movement, with its emphasis on
painting landscapes out of doors and catching the fleeting
impression, meant an enormous output of pictures so that
they are not difficult to find. The eight Impressionist
Exhibitions were held in 1874, 1876, 1877, 1879, 1880, 1881,
1882, and 1886.
INTAGLIO
- The process of intaglio,
incised or copperplate printing uses a principle opposite of
that of relief printing. The image to be printed is
sunk into the printing surface and filled with a greasy
printer's ink. Then the surface is carefully wiped
clean so that the ink remains only in the incised design.
The great pressure required to pick up the intaglio printing
leaves a visible plate mark within the margin of the
uncompressed paper.
- The intaglio techniques are
all forms of engraving on metal, usually copper, and they
are distinguished from the other techniques by the method of
printing. When the plate has been engraved by one or more of
the processes to be described and several processes
are often used in combination the plate is dabbed all
over with a thin kind of printing ink, which is then rubbed
off again with muslin or the palm of the hand, leaving the
ink in the engraved furrows. A piece of paper is then damped
and laid on the plate and both are rolled through a heavy
press not unlike a mangle. The damp paper is forced into the
engraved lines and so picks up the ink in them: when dry the
engraved lines stand up in relief. This explains the great
difference between a copperengraving, or any other intaglio
print, and a woodengraving which has been out in a very
similar way the ink lies on the surface of a
woodengraved block instead of forced into the lines cut (intagliate)
into the metal plate. A wood-engraving cannot be printed
in the intaglio manner as it would break under the pressure.
The main intaglio processes are: (a)
LINE
(or copper) ENGRAVING, (b)
DRYPOINT,
(c)
ETCHING,
including Soft-ground etching, (d)
STIPPLE
and crayon engraving, (e)
MEZZOTINT,
and (f)
AQUATINT
and the related processes.
- Consists of cutting forms
out of a surface so as to form a kind of relief in reverse.
The commonest example is an engraved sealring, hence the
opposite term is often cameo. For Intaglio processes,
see
ENGRAVING.
INDIA
INK
- Name commonly used in the
U.S. for black liquid drawing ink.
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JAPANESE
PAPER (or JAPON)
- Any of several soft,
tissue-thin artists' papers made in the Far East from the
pith of fibers from various trees.
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KINETIC
ART
- A general term for all
artistic constructions that includer moving elements,
whether actuated by motor, by hand crank, or by natural
forces, as in
MOBILES
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LIFE-SIZE
- In figure sculpture, of the
same size as the actual model.
LIMITED
EDITION
- A set number of replicas of
a work of art, of which the plate, mold, or die is destroyed
or mutilated after the desired number of copies has been
made. The practice of limiting editions and numbering
proofs originated with
ETCHING
and
DRYPOINT,
in which the quality of the proofs declines as the copper
plate begins to show evidence of wear. By thus
limiting an edition to first-rate examples of an artist's
work, the artist protects both his or her artistic integrity
and the value of the work to the collector. There is
no technical reason for limiting or numbering editions of
works of art that are made by processes capable of turning
out an indefinite number of uniformly good copies, such as
lithography, serigraphy, and casting molds that employ
durable molds. Editions are frequently limited,
however, for financial reasons; by ensuring the relative
rarity of the artist's work, he or she increases its value.
See also
ORIGINAL,
RE-STRIKE
LINE DRAWING
- A drawing in which forms
are depicted exclusively by lines.
LINE
ENGRAVING
- Referring to the
INTAGLIO
technique, the sharp graver is pushed into the copper,
exactly like a plough into the earth, throwing
up small shavings and leaving a line which has a V-section.
This is the earliest of the intaglio techniques, as the
earliest dated print is of 1446, but it is also the one
demanding the discipline and precision of hand since the
sharp tool has to be pushed ahead of
the hand and polished copper is very slippery. This
medium was later used mainly for reproducing pictures and
other works of art. Seventeenth Century engravers
(especially French) brought the art to the pitch of
perfection as a didactic medium
LINOLEUM
CUTS or LINOCUT
- Same as the woodcut in
principle but linoleum rather than wood is used.
Picasso made major innovations in the use of this medium to
produce fine prints. See also
ENGRAVING.
LITHOGRAPH
- Lithographs are made by
using a greasy crayon , pencil, or lithographic ink, called
tusche, to draw an image on a metal plate or a stone.
The surface is then dampened with water, which only
stays on the blank areas, since the grease repels water.
Greasy printing ink is then rolled on the surface and,
again, this only adheres to the image- not to the dampened
area. Paper and plate are run through a press together
where the ink is transferred to the paper. Anything
may be used to draw the image on the plate as long as it is
greasy. Different drawing mediums will produce
different texture samples of his linoleum cut prints are
greatly sought after today. See also
ENGRAVING
or
SURFACE
PRINTING.
LOST
WAX
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MASTER
- 1. An artist of high
achievement, especially one of the leaders of a school or
period. 2. Originally, the status or standing of one
who was an artist or craftsman qualified to execute
commissions alone or with a hired journeyman.
MASTERPIECE
- One of an artist's works
that represents his or her top level of accomplishment; any
work of art that ranks among the best of its kind. A
frequently encountered French equivalent is chef
d'oeuvre.
MEDIUM
- The specific tool and
material used by an artist, for example, brush and oil
paint. Plural media.
MEZZOTINT
- This was the great
reproductive process of the 18th century (though invented in
the 17th century), especially famous and successful in
England, where the portraits of Reynolds and Gainsborough
were normally reproduced by it. The plate is first covered
with a mesh of small burred dots, made by a toothed chisel
like 'rocker'. In this state the plate would print as a
solid, rich black. The halftones and lights are obtained by
scraping off the burr with a scraper, or polishing the plate
smooth again with a burnisher so that the ink may be wiped
off the highest lights. The technique is rarely practiced
now, as photographic methods have superseded it for
reproduction.
MIXED
MEDIA
- The term generally applied
to the use of two or more media in a single work of art.
MOBILE
- In sculpture, a delicately
balanced arrangement of thin rods or stiff wires and objects
suspended from them. The entire construction hangs
from a thin filament and is moved by slight air currents.
The mobile was named by its inventor, the American sculptor
Alexander Calder. (1898-19761).
MONOTYPE
- A single print, not
strictly an engraving at all, made by painting with oil
paint or painter's ink, on an untouched copper plate, and
printing on paper in a normal way. The only reason for
doing this instead of painting direct on the paper is the
quality texture given by the pressure of printing.
MULTIPLES
- A work of art produced by
any of the printing processes, usually in large numbers and
replaceable at any time, whose value lies in its potential
for reaching a vast audience.
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NATURE MORTE
- The French term for a
STILL
LIFE painting or drawing.
NEO-IMPRESSIONISM
- The name given to a late 19th
century movement in French art, best characterized by the
paintings of Georges Seurat, Paul Signac, and Camille
Pissaro, which was, in effect, a synthesis of
IMPRESSIONISM,
with its emphasis on light and color, and pointilism, the
methodical, nearly scientific application of dots of paint
to create a very specific , highly formalized effect.
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OBJECT D'ART
- A French term used to
designate a work of art that has intrinsic material worth
over and above its aesthetic qualities. It is applied
to all sorts of decorative and precious articles but
ordinarily denotes relatively small objects privately owned
rather than displayed in museums.
OEUVRE (Fr. Work)
- The oeuvre of an artist is
the total of his output, and an oeuvre catalogue is,
therefore, an attempt to record every single work of art by
a given artist. A catalogue raisonne is slightly
different, in that it attempts a complete description of
works, with details of
PROVENANCE,
autography quality, condition and similar effects.
OFFSET
- In printing, the transfer
of the inked impression on a block, plate, or stone to
another surface from which the actual proofs are pulled.
OLD
WORLD MASTERS
- Popular epithet for any of
the great masters of the Renaissance period, especially
those of Italy, Holland, and Belgium; also any of their
works.
ORIGINAL
- An artist's independent
creation.
- A work of art considered as
a prototype, as that from which copies are made.
- Any print made by a
recognized graphic arts process in which the artist has
created the master image on the plate, block, stone, screen,
or transfer paper and has printed it himself or herself.
In the case of a technically involved process such as
lithography, a professional printer may assist the artist in
pulling the proofs. The term original print,
which has been adopted by the Print Council of America,
distinguishes such proofs from mechanical or photographic
reproductions that are executed neither by the artist nor
under the artist's supervision. Since the early 20th
century, original prints have generally been signed in
the lower right-hand margin of the print, close to the
bottom of the impression. In limited editions, the
artist also records in the margin the size of the edition
and the number of the
PROOF.
- In accordance with the
standards of the originality in the graphic arts adopted by
the Print Council, the artist is expected to identify
clearly a second edition, both by altering it in some way
(as by a change in color) and by marking it "2nd
Ed". I f the artist makes any significant change
in the printing surface while pulling an edition, proofs of
the reworked surface should be marked "2nd st."
(second state). When the artist decides that he or she
will make no additional prints from a plate, stone, or
stencil, the Council suggests that the artist either
obliterates the image or cancels the image. A
cancellation is any form of alteration or defacement that
insures that further proofs cannot be confused with those of
the limited edition.
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PASTEL
PATINA
PEN AND INK
- The name given to a sketch
or drawing executed with a steelnibbed pen dipped in ink.
PLEXIGLAS
POP ART
- Based on the acceptance and
use of artifacts, mass advertising and press media, and
products of modern life (i.e. Pop Culture) as valid forms in
themselves, and, subjected to various transformations which
increase their impact without destroying their character, as
material for further artistic creation. Photographs,
posters, advertisements strip cartoons, packaging, objects
of everyday life such as furniture, machinery, cars,
washbasins, quilts, stuffed animals; the transmogrification
in three dimensions by means of colored plastics of
sausages, tomatoes, sandwiches, typewriters; the
representation in bronze either left as itself, or painted
realistically of such things as beer cans or apples; the
painted imitations of tins of soup: all is grist to the Pop
artists' mill, since no aspect of modem life is excluded as
an art form.
PRINTS,
THE STORY
The Following is
a discussion of some of the more popular methods of making
prints. Four Basic Methods
- Relief (WOODCUTS,
LINOLEUM
CUTS)
-
INTAGLIO
(ETCHINGS,
DRY
POINTS,
AQUATINT)
- Planographic (LITHOGRAPHY)
- Stencil (SERIGRAPHY)
PROOFS
- A version of the artwork
produced for review.
PROVENANCE
- (Fr. Source, origin).
The provenance of a work of art is its pedigree. A
complete record of its ownership is its provenance, and it
is the duty of the cataloguer to establish , as far as
humanly possible, the provenance of a work of art. In
some cases – e.g. the Sistine ceiling – no doubt is
possible, but the exact pedigree of a picture by Vermeer or
Van Gogh is a matter of great importance, especially to the
dealer trying to sell it.
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RELIEF
- The main techniques are
WOODCUT
and WOOD ENGRAVING,
LINOCUT
and its simpler forms, such as Potato cuts. A plain block of
wood, if covered with printing ink and pressed on a sheet of
paper, would print as a black rectangle: but if channels
were cut into the surface with a gouge these would not catch
the ink, and, therefore, would print as white patches. The
principle of a woodcut is therefore to leave the black lines
or patches as untouched wood and to cut away the parts
intended to print as white. A single black line has to have
the wood on each side of it cut away, and this is done with
special knives and gouges.
REMARQUE
PROOFS (or REMARK)
- Proofs with a scribbled
drawing or other mark in the margin to indicate a supposed
superiority to ordinary proofs.
RESTORATION
- The repair or
reconditioning of works of art by replacing missing parts
and filling in missing areas.
RESTRIKE
- An impression made from a
plate, block, lithographic stone, silkscreen stencil, mold,
or die of any multiple-replica process after the original
edition has been exhausted; especially, an impression made
after the first impression has been in circulation for an
appreciable length of time.
RETOUCHING
- Making changes on a
finished picture by going over it with fresh paint.
The term is usually confined to work done on a picture by
the artist who originally painted it.
RICHARD
de BAS
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SCULPTURE
SERIGRAPH
or SERIGRAPHY
- Creative
SILKSCREEN
printmaking, in which the artist designs, makes, and prints
his or her own stencils. All the standard techniques
for preparing silkscreen stencils are used in making
serigraphs. A serigraph differs from most other
graphic arts proofs in that its color areas are paint films
rather than printing ink stains. It is, in addition, a
direct, extremely versatile technique that can simulate, in
an unlimited range of colors, the impasto of oil colors, the
transparent washes of watercolors, and the effects of
gouache and pastel- which justifies the widely held opinion
that serigraphy is as much a painter's as a printmaker's
medium. When the artist uses the best rag paper,
permanent pigments, and a non-yellowing acrylic or alkyd
transparent base, the prints are probably as permanent as
any other. In serigraphy, following standards
established for the production of
ORIGINAL
PRINTS, the artist is expected to execute the entire
process without assistance. If the artist prints a
numbered
LIMITED
EDITION, he or she destroys the stencils after
completing the run or clearly identifies a
RE-STRIKE
edition. Re-strikes, however, are seldom a
consideration in serigraphy because, for any edition of a
print, most serographers use no more than one or two
screens, cleaning them and re-stenciling them after each
color run. The use of silk screen as an artists medium
began in 1938, when a group of New York artists under the
auspices of the Federal Art Project experimented with silk
screening and fully developed all its artistic potentials.
SILKSCREEN
- A color stencil printing
process in which the coloring matter is forced with a
squeegee through a fine screen, on which nonprinting areas
have been blocked out, onto the printing surface below.
The creation of
ORIGINAL
PRINTS by the silkscreen method is called
SERIGRAPHY
. The screen most commonly used in the process is a
fine nylon cloth, stretched commonly on and attached to a
wooden frame. In a serigrapher's studio, the frame is
commonly hinged to a flat bed or table, on which the paper
or other printing surface is placed. A simple prop bar
keeps the screen raised above the bed while a printed proof
is removed and fresh paper is inserted.
SKETCH
- A rough draft of the whole
STILL
LIFE
- A painting or drawing of a
group of inanimate objects contrived by the artist according
to some theme, either symbolic or merely aesthetic. The
still life is usually set indoors and contains at least one
man made object, perhaps the table on which a group is
arranged or, in a floral still life, the vase that contains
a bunch of flowers, thus differing from a drawing from
nature, which portrays such objects as rocks and flowers in
their natural setting.
STIPPLE
- Stipple, crayon engraving,
and
color printing were popular 18th century techniques.
Stipple and crayon engraving were used particularly for the
reproduction of portrait drawings, giving an effect remarkably
similar to that of a chalk drawing. It is obtained by a
combination of etching and engraving techniques, stippling
dots over a grounded plate with the point of an etching needle
or, more usually, by the use of special tools; a Roulette is
a spur like wheel which gives an effect similar, to the grainy
quality of chalk, and it can be combined with a Mattoir, which
is an instrument like a tiny club with sharp points projecting
from the head. These points produce a grained effect on the
bare copper which prints as black, chalk-like dots.
Occasionally the effect of two-color chalks is obtained by
printing from two plates, usually black and red.
- Color engravings of the
18th century fall into two main categories, English and
French. The finest English color prints are usually based on
the aquatint process and are made by a single printing from
a plate colored in the appropriate areas. Some English color
prints are, in fact, monochrome
AQUATINTS
hand colored in watercolor, and both Girtin and Turner
earned a living coloring engravings at the beginning of
their careers.
- The French technique,
sometimes called maniere de lavis, is an imitation of
a wash drawing or a watercolor obtained by the use of a
great number of roulettes, mattoirs and gravers. The
use of these tools gave the tones, but the actual colors
were printed from four separate plates yellow,
red, blue, and black, printed in that order, the black being
the most important since it defined the contours. The most
difficult part of this technique is to ensure that one plate
is printed exactly on top of another 'in register'.
STUDY
- A drawing or painting of a
detail, such as a figure, a hand, or a piece of drapery,
made for the purpose of study or for use in a larger
composition. A study should never be confused with a
SKETCH,
whereas a study may be very highly wrought but does not
usually embrace more than a part of the composition.
SURFACE
PRINTING
- The one major process which
involves no cutting into the block or plate, and therefore
no 'engraving' in the proper sense, is
LITHOGRAPHY,
usually executed on a thick slab of stone, although zinc is
now pore common as it is both lighter and less fragile. The
whole technique, invented in 1798 by Alois Senefelder, is
based on the fact that water runs off a greasy surface. The
design is drawn or painted on the stone with a greasy chalk
and then the stone is wetted. When the greasy ink is rolled
on the stone it will not 'take' on the wet parts, but it
sticks on the parts which are already greasy, off which the
water ran. The new process was taken up by several 19th
century artists, including Delacroix, Goya, Garicault,
Daumier, Manet, and others, and it is still a popular
medium. It is used very widely for posters and other forms
of commercial art, since it produces many thousands of
prints. Chromolithography, to give it its full name, can be
used for color printing, with one stone for each color,
printed in register. The first major work produced by this
method was Boys' 'Picturesque Architecture', 1839, Its great
advantage is that there is almost no limit to the
number of prints it is possible to take. See also
SERIGRAPHY
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TRANSLUCENCY
- The ability of a substance
to transmit light without affording clear visibility.
A substance with this property is said to be translucent.
See
TRANSPARENT
TRANSPARENT
- Transmitting light freely;
clear and glasslike without any opacity or cloudiness
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VELLUM
PAPER
- A heavy, high-grade paper,
natural or cream-colored.
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WOODCUTS
- The principle is based on
cutting away that portion of the wood block not to be
printed, leaving in relief that portion of the material
which is inked and from which prints are taken. You
may visualize this by thinking of a rubber stamp, which is
also a relief printing method. Color woodcuts are
achieved by using a separate block of wood for each color.
- Woodcuts are done on blocks
of soft wood, cut plank-fashion, and will give hundreds, or
even thousands, of impressions before wearing out. Linoleum
is often used nowadays, as it is easier to work, but its
life is shorter. Color prints are produced by cutting a
special block for each color as well as a key block, usually
printed black, which carries the linear structure, (see
CHIAROSCURO
woodcut), and these have to be printed in register, so that
the forms do not overlap. The earliest woodcuts date, from
the end of the 14th century, but wood engraving hardly
occurs before the mid18th century. Wood engraving is very
similar to engraving on copper, using the same kind of tool,
called a graver or burin. The main difference between wood
engraving and woodcut is in the block itself, which is of
boxwood, cut across the grain, for wood engraving. On this
smooth, grainless surface the sharply pointed engraving
tools can plough very fine furrows each of which will print
as a fine white line. Obviously, it is far easier to think
in terms of white lines on a predominantly black ground, and
the great modern revival (since about 1920) of wood
engraving has been of the white line or Xylographic:
type, which offers a means of stylized design.
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