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Intaglio Etching from the Ghosts Series This is the original artwork. A4 size 300gsm watercolour paper. Printed using hand etched acrylic plate, oil intaglio inks and a traditional etching press. Artwork exploring meaning and myths about birds in history. Sold Unframed Posted first class.
A wonderful collection of vintage human skull drawings to download for free. They would make a fun Halloween decoration for the home.
Title: Breathe... This is an intaglio print taken from a still-life drawing. Paper size: 210mm high x 150mm wide Design size: 145mm high x 95mm wide Printed on Art Spectrum Watercolour paper: • 300gsm weight • 100% cotton fibres • Acid-free • Archival quality • Hot pressed (Smooth surface). Prints are open edition, and signed by the artist. Prints are not mounted or framed. All the prints are hand-printed, and as a result, there may be minor differences, making each one unique. Design and print by contemporary artist and printmaker, Kylee Fenwick.
Photos of the Drypoint etching process, from to cutting a plexiglass plate, and ink mixing, all the way to intaglio printing on a press.
Welcome to Accidental Mysteries, a weekly cabinet of visual curiosities set aside for your perusal and enlightenment.
Dry Point Etching
This etching from the original work after Albrecht Durer features Jesus Christ the Crucified and is wonderfully displayed in this 1816 etched bookplate. It is from William Young Ottley's book, An Inquiry into The Origin And Early History of Engraving Upon Copper and In Wood, with An Account of Engravers And Their Works, From The Invention of Chalcography By Maso Finiguerra, to the Time of Marc Antonio Raimondi. A note on the source: William Ottley compiled a small collection of engravings and published them in his book History of Engraving which was published in the early 19th century. The etchings were of the highest quality and represent the works of some of the greatest artists of the past. Many were produced by the author using the original plates. Visit this shop for a wide variety of Vintage Quality Jewelry, Art, and Collectibles. ~Age (approximate): 1816 ~Material(s): Heavy White Woven Paper ~Approx. Size: 8" across x 10 1/2" high ~Approx. Weight: N/A ~Signature / Brand: Signed in plate. ~Condition: Very Good. Some discoloration around outer edges. Minor foxing. ~International Shipping: Is Available, please contact us for a quote. ~Inventory #: 2657
Explore Madeleine Rose Walsh's 403 photos on Flickr!
When New Yorkers still walked the streets, Martin Lewis (1881–1962), an Australian-born printmaker specialized in scenes of early 20th century New York City. He began making painted stage decorations for William McKinley’s 1900 presidential campaign. By 1909, he was living in New York City, where he produced commercial illustration. His earliest etchings is 1915 but he had been working in the medium before this. It was during this period that he helped teach the American arti
VINTAGE ART REPRODUCTION: Add style to any room's decor with this beautiful print, whether your interior design is modern or classic. MUSEUM QUALITY INKS AND PAPER: Printed on thick 192gsm heavyweight matte paper with archival giclee inks, this historic fine art will decorate your wall for years to come. ATTENTION TO DETAIL: We edit every artprint for image quality and true color reproduction, so it can look its best while retaining historical character. Makes a great gift! FRAME READY: Your unframed poster will arrive crease-free, rolled in a sturdy mailing tube. Many pictures fit easy-to-find standard size frames 16x20, 16x24, 18x24, 24x30, 24x36, saving on custom framing. Watermarks will not appear in the printed picture. Some blemishes, tears, or stamps may be removed from the final print.
Explore petrus.agricola's 25717 photos on Flickr!
Eyes on Belgian artist Thomas Amerlynck and his dreamlike etchings. Thomas Amerlynck was born in Anderlecht in June 29, 1981. Today he lives in Brussels,
Death`s head hawkmoth drypoint etching
Anders Zorn pursued light as the guiding principle of his art. Whether it was oil paint, watercolor, or etching, the expression of lig...
Anders Zorn - Two Bathers
Franklin Booth (1874-1948) American artist of detailed pen-and-ink illustrations with the appearance of wood engravings. He created this style when he was young, self-teaching from illustrated magazine art, not realizing they were engravings. Pen and ink, The Car That Went Abroad by Albert B. Paine Century Magazine, July and Aug 1914 ___ Franklin Booth bio with images: www.bpib.com/booth.htm The Franklin Booth Project: outsidelogic.com/franklinbooth/ Franklin Book | Comic Book Stories: comicsbookstories.blogspot.com/2009/12/franklin-booth-187... comicsbookstories.blogspot.com/2011/07/franklin-booth-187...
How does an audience that is fully immersed in the digital age look at images? Interestingly, the direction we read (e.g. Westerners read from the left side of a line of text to the right side) has a big impact upon the way we look at images and, in turn, how artists arrange the lighting on their portrayed subject. For instance, artists wishing to cater for a left-to-right reading direction of a Western audience portray their subjects with a top-left lighting angle as the Western eye is attuned to perceive a subject’s form when it is lit from this direction. In Jean-Jacques de Boissieu’s (1736 –1810) Saint Jerome shown below, for example, Western eyes see the body of the saint as far more three-dimensional when he is lit from the left than if his body were lit from the right as shown further below when the print is “flipped” horizontally. For academic artists the arrangement of light is more exacting: a top-front-left angle convention as can be seen in John Samuel Agar’s (1773–1858) stipple engraving of antique heads (also shown below). Jean-Jacques de Boisseau (1736–1810) St Jerome, 1797 Etching, drypoint, engraving and roulette, chine colle. 49 x 35 (plate); 42.7 x 31 cm (image); 63 x 45.7 cm (sheet) Perez: 104 Condition: Rich impression with toning (oxidation) in the margins. There are also handling marks and many tears in the margins, some of which are restored. Jean-Jacques de Boissieu, (detail) St Jerome, 1797 (left) Boisseau, St. Jerome, 1797 (right) horizontally flipped image of St. Jerome (click the image to enlarge) John Samuel Agar (1773–1858) Plate VII, 1809 Stipple engraving in sepia on laid paper 27.8 x 22.5 cm (plate); 55.7 x 38 cm (sheet) Published by T Payne and J White (presumably as part of the folio, Specimens of Ancient Sculpture… published by T Bensley) Condition: crisp impression with thee light surface marks (dirt?) towards the middle-left side within the plate mark. There is a repaired 7 cm margin tear that is 1.5 cm away from the plate mark. The paper is clean and in good condition. John Samuel Agar, (detail) Plate V1I, 1809 John Samuel Agar (1773–1858) Plate XLII, 1809 Stipple engraving in sepia on laid paper 27.6 x 22.5 cm (plate); 55 x 38 cm (sheet) Published by T Payne and J White (presumably as part of the folio, Specimens of Ancient Sculpture… published by T Bensley) Condition: crisp impression minor wrinkling. The paper is clean with minor handling marks and 1 cm edge cracks on the lower and right edges. I am selling this print (Plate XLII) and the other Agar stipple engraving further above (Plate VII) for a total cost of [deleted] including postage and handling to anywhere in the world. (Note: these are large prints and will be shipped in a tube.) Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below. These prints have been sold John Samuel Agar, (detail) Plate XLII, 1809 This lighting arrangement has become so much a part of the Occidental way of looking at images that even digital buttons in computer programs (i.e. “pop-up” display keys shown on the monitor rather than physical buttons we can touch) have a top-front-left lighting arrangement enabling the viewer to see if a displayed button is raised or lowered. By contrast, artists wishing to cater for a right-to-left reading direction of an Arabic or Jewish audience will light their portrayed subject in the reverse direction so that light is cast on a subject from the top-front-right. The importance of this seemingly simple principle became apparent to me after contemplating advertisements in an Israeli newspaper and intuitively knowing that the compositions were aesthetically awkward (i.e. “wrong”) for my Western eyes. My awakening to the importance of the angle of lighting in these newspaper advertisements impacted also on my understanding of images in general that I knew deep down were unsettling. One of these is another of de Boisseau’s rich and moody prints, The Fathers of the Desert (shown below). I had originally acquired this print as I had (and still have) a fascination with hermits and this particular image is truly haunting. For me, a lot of its attraction rests with the standing figure’s facial expression of transcendent rapture (see the same facial expression in Zurbaran’s painting, St Francis, upon which this figure is modelled). There is also the hint of the unknown conjured by the landscape setting outside the dark void of the open cave. But to my eyes the really riveting attraction is the dramatic lighting (termed chiaroscuro) that is cast on the figure like a spotlight from the right. I suspect that if the lighting had been from the left, the figures and landscape features may have appeared more three-dimensional as is the case with St Jerome, but the peculiarly otherworldly mood of the image would not have been the same. Jean-Jacques de Boisseau (1736–1810) The Fathers of the Desert, 1797 Etching, chine colle. 49 x 35 cm (sheet) Perez: 103 Condition: cut within the plate marks but with a border around the chine colle of the image. There are handling marks and tears in the support sheet otherwise good condition. I am selling this print for $180 AUD including postage and handling to anywhere in the world. (Note: this is a large print and will be shipped in a tube.) Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below. This print is no longer available Jean-Jacques de Boisseau, (detail) The Fathers of the Desert, 1797 Of perhaps surprising importance to the following discussion is how artists arranged the lighting for early Oriental eyes where text is read vertically. The convention for Eastern artists was not to impose a sideways lighting on their subject at all but rather to portray spatial depth in terms of disposing each featured subject in its own spatial zone from foreground to distance. Often these zones are differentiated from each other with white space (or to use the term I have applied to Western art, noetic space; see post Jacque: Sheep and Shadows) and the suggestion of mist separating each zone but, or course, each subject demands its own requirements for spatial placement. How this Oriental approach of vertical reading has relevance to the digital age is again by being linked to reading habits. In the past, the direction of reading also applied to how books and other collections of text were negotiated in terms of turning the pages. First, the reader would view the top page (in the West this is signified by the bound edge of the book being on the left whereas in the East it is on the right) and then would turn the page over following the culture’s reading direction to see the next page or, alternatively, move the eye to the adjacent page. In short, there is a convention of where the next page is to be found. In the digital world things are beginning to change. For screen-based text the “top” of the page is to be found with the document scrolled upward and the pages that follow are to be found by scrolling the document downward. At first such an arrangement is sensible and unproblematic. But there is a subtle shift in the way the digital audience is now beginning to view images and it is different to the ways of the past. This subtle shift in reading only occurred to me after hearing about the conundrum encountered by advertisers concerned with making money from the social networking site, Facebook. The concern is that the viewers tend to not look at information placed on the sides of the screen as they have become conditioned to see this area as being for advertisements (as is the case with many blog sites). To express this differently, unlike readers holding a book or newspaper where the viewing field is the whole page, for viewers looking at Internet pages (as opposed to digitalised pages on eReaders like Kindle) the viewing field has arguably become more localised to the centre of the screen. In essence, the culture of digital reading is morphing our gaze to a vertical stream of reading from zenith to nadir. The interesting question that this poses is whether this focus impacts on the way digital artists compose their images and there is evidence that this may be the case. I posed this question to a former Honours student, Gareth Wild, for insights into his artistic practice and the following response highlights a change in attitude to the conventions of composition for at least one of the rising digital stars. Regarding Gareth’s first digital image, Zoombified Pirate (shown below), Gareth advises me that the image is top lit but he does not believe that the lighting is “an integral component to the overall impact of the image.” Although Gareth’s view of his image may be interpreted as negating the importance of the vertical lighting arrangement his following comment is very revealing: “The composition is vertically linear—not unlike the design of a webpage, and the ominous background smog creates a subtle vignette effect—again reinforcing the centralised composition reflected in our reading of a webpage. In Gareth’s digitally created image, Large Crustacean (shown further below) his insight is that this print is “less vertically linear than the former image, but again is top/back lit.” Going further, he points out that the “important information is central and a subtle vignette effect is also apparent.” Gareth Wild, Zoombified Pirate, 2011, digital image Gareth Wild, Large Crustacean, 2011, digital image From a personal standpoint there seem to be three ways that digital artists have morphed conventional principles of image making. The first is that the notion of a light source illuminating the portrayed subject from the top-front-left is changing to a system of immersive lighting where the effects of light are not so much “on” the surface of the subject but is within the portrayed subject. An example of this phenomenon is a painting by one of my first-year students, Sue Foster, who began her painting of a still life (shown below) as a watercolour and then “worked” on it digitally to refine the principles addressed in the class. Beyond the scattering of light, note also how Sue’s compositional arrangement echoes Gareth’s reflections on his approach discussed above. Sue Foster, Watercolour—Fruit, 2012 digitally manipulated watercolour The second way is to do with colour. In analogue paintings (i.e. paintings made using traditional materials) artists have the resources to make subtle adjustments to colour by applying a layering of glazes to produce an amalgam of tone, chroma, opacity, sheen and surface facture that—arguably—cannot be duplicated with screen colours (RGB) or with the colours of the print industry (Pentone spot colours and CMYK). This in itself is not a problem as a very close approximation of colour can be achieved but this screen colour approximation may lead to a fresh way of seeing imagery. By this I mean that there is a conceptual leap from Arthur C Danto’s notion of an audience’s engagement with the imagery of Giotto, Leonardo and Raphael “like a disembodied eye” (1990, p. 186) to the potential of viewer’s interactive and immersive presence in digital imagery. The third way is best described as the male vision of the hunter and gatherer where focus is literally targeted on the central area of the image. This pattern of where a viewer’s gaze rests returns us to the conundrum faced by the Facebook advertisers: digital viewers are not looking at the periphery of their field of view. _____________________ Danto, Arthur C 1990, Encounters and Reflections. Toronto, Harper & Collins
Jan C. Vondrous（Czech, 1884-1956） Roofs, Prague 1914 etching
Albrecht Dürer ~ The Temptation of the Idler (The Dream of the Doctor) (detail), c.1498
Архив ЖЖ с апдейтом (Из Библиотеки Конгресса США)-часть 1 On the Cutting Edge - Contemporary Japanese Prints from The Library of Congress Man Zhuang Sure Signs of Spring-Gorgeousness 2005 Mezzotint Hiromi Miura;Yukie Nakano подробно Hiromi Miura A Flower 2005 Etching Masahiro Kurita Banquet 2004…
