About The Artwork This polymere etching is hand pulled in a limited edition of only 15 copies on 300 grams Hahnemühle etching paper, using Charbonnel oil based ink. image size: 44 x 59 cm paper size: 50 x 65 cm Each print is numbered and signed, and comes with a Certificate of Authenticity. It ships without a frame. Original Created:2021 Subjects:Animal Materials:Paper Styles:SurrealismFine ArtFigurative Mediums:Etching Details & Dimensions Printmaking:Etching on Paper Artist Produced Limited Edition of:15 Size:19.7 W x 25.6 H x 0 D in Frame:Not Framed Ready to Hang:Not applicable Packaging:Ships Rolled in a Tube Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:Netherlands. Have additional questions? Please visit our help section or contact us.
review : dataisnature.com/?p=348
hoveringcat: Tetsuo Aoki is a Japanese woodblock printmaker whose elongated black and white figures caught my eye - more work can be seen here. Found via Designers Go To Heaven.
#386 How’s everyone doing today? You don’t have to answer that, but I hope all is going well in your part of the world. Today we are going to take a look at Gustave Dore, a master artist I stumbled across while researching another. I was blown away with the atmosphere he was able to create…especially when […]
On June 19, the latest exhibition at Dulwich Picture Gallery, Cutting Edge: Modernist British Printmaking, will open. Featuring over 120 works, the exhibition will shine a spotlight on a brief but intense period of printmaking that took place in London during the interwar period. With works from the School’s teacher, C
Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
The Dutch artist’s visual tricks and teases continue to delight and infuriate us – here is some of his best work
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Dervin is a Cork based artist who primarily works with the figure using a multitude of different media including textiles and printmaking.
Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
"COUPLE" by Remed. 2008. (test) Xilogravure on paper. 40x60cm
Kasamatsu Shiro (1898-1991), Into the Woods (1955), colour woodcut on antique-white wove Hosho paper, 24.6 x 36.7 cm. Via annexgalleries.com.
Explore malota's 7645 photos on Flickr!
Save to Favorites 40 Favorites X Save to Favorites Please Login or Register to save content. Grade Level 7-8, 9-10, 11-12 Duration 2 forty five minute periods (size dependent) Materials Typing paper and one of the following: dark color pencil, crayon, graphite stuck or pencil Media Pencil, Wax crayons, Color pencils Lesson Objectives For the […]
Meet Sarah Young – an extraordinarily talented painter, illustrator, printmaker, designer, maker and originator of a travelling puppet theatre!
25 September 2017 Research Point: Investigating Combination Printmaking and Incorporating Chine Colle Collages Find some examples of good use of chine colle in printmaking and share them with other…
Mark Spain trained in technical graphics at Medway College of Art before setting up a printmaking studio in Kent producing original etchings. In October 1987 he was commissioned to produce limited edition etchings of Kew Gardens and has since undertaken many other commissions, with clients ranging from National Westminster Bank to The Dorchester Hotel. His work has also been represented by several leading publishers and distributed worldwide.
For my second celebratory post I go to the book covers of Chinua Achebe, but not just any of his covers. I focus on the series designed by Cuban-American illustrator and artist, Edel Rodriguez, with art direction from Helen
Dublin-based illustrator and printmaker Conor Nolan brings the two disciplines together to create bold and humorous imagery. He hopes his playful, tactile style creates a stronger connection betwee...
A bookplate, also known as ex-librīs [Latin, "from the books of..."], is usually a small print or decorative label pasted into a book, often on the inside front cover, to indicate its owner. Simple typographical bookplates are termed "booklabels". The earliest known marks of ownership of books or documents date from the reign of Amenophis III in Egypt (1391–1353 BCE). The Ex Libris of Amenophis III and Teie The earliest recorded bookplates or ex-libris are small enameled ceramic plaques representing the ownership of pharaoh Amenhotep III (Amenophis III) and Queen Tiy (Teie), dating from 1391 to 1353 BCE, probably excavated from Amarna. by A. Levitsky by Steve Ollice
(via read A linocut print on Arches cream paper by TortillaPress)
The founding of the Republic of Czechoslovakia in 1918 also led to a cultural renaissance in the region, with a desire to create a distinctive Czech culture spurring decades of artistic experimentation and creativity.
Harry Clarke's Spectacular Illustrations for Edgar Allan Poe
“Agapanthus”, by Angie Lewin Angie Lewin does wonderful and inspiring printed work in linocut, wood engraving and collage. She lives in North Norfolk, and her work is shown in many gall…
Colour woodcut is more of an industry in Germany and the United States than it is here in Britain (where it remains in the shadow of the modish contrivances of the Grosvenor School). This even comes out on Modern Printmakers which now has fewer British readers than American and German ones. There have been a fair number of books published in the US, mainly about individual artists, including William Seltzer Rice, Walter Phillips, Edna Boies Hopkins and Arthur Wesley Dow. Alongside this there are learned articles by Nancy Green from Harvard. All to the good but lacking in any real knowledge of what was happening in Europe, surprising because a number of these Canadian and American artists became friends of British artists and Boies Hopkins even visited Britain before the first war. But what do American scholars know about that? It is not the same kind of blank with Norma Bassett Hall. We have some details but they only make us want to know what really went off. Over at The Linosaurus, Gerrie Caspers made a reference to Rice's trip to Scotland. This was something I knew nothing about but it immediately struck me as significant. And you only have to compare Hall's A Highland Croft (above) and Rice's Cottage, Melrose, Scotland (below) to see why. They all pinched ideas from one another as artists always do. As Alphonse Legros used to tell his students at the Slade, 'If you're going to rob anyone, rob the rich'. What strikes me about Hall is the way she assiduously made use of other artists and the way she went about it. She and her husband made a small book of linocuts together before she discovered Frank Morley Fletcher's Woodblock printing and began making colour woodcuts in the Japanese manner. But this was hardly novel and going all the way to Edinburgh to work with Mabel Royds seems an odd thing to do by itself. Admittedly, her husband Arthur William Hall also studied etching with Royd's husband E.S. Lumsden who had just published an important book on the technique. But I think it's the way the story has been told (and re-told) that has made it seem more important than it was. Who knows? Because we know so little about it all. The Halls arrived in Glasgow in June, 1925, and went over to meet the Lumsdens in Edinburgh. Then in August, they went on a trip to Skye by way of Crianlarich. Apparently while on Skye they stayed for about a week at Portree and then over a number of years, Hall made four colour woodcuts of Highland scenes, including Portree Bay (top) and A croft at Crianlarich (1929 - 1930). Unfortunately, I can't seem to find an image of A croft at Crianlarich and the one above is Cottage on Skye which she made as late as 1940. But it was Gerrie who discovered that Rice had made a woodcut called Aberfoyle, Scotland and, as it happens, Aberfoyle and Crianlarich are only about twenty miles or so from one another. Hall was a magpie. You only need to look at the work Helen Stevenson was doing by the time Hall visited Scotland, especially The hen wife (1924) to see where some of Hall's ideas for A Highland Croft (1927-1928) came from. Not only that, there are some obvious similarities between Hall's print and Kenneth Broad's A Sussex Farm (1925) exhibited at Los Angeles in February, 1926. But her borrowing worked because the colour woodcuts she made in the States based on the trip to Scotland are the best things she ever did, certainly a lot more lively than the woodcuts that drew their inspiration from trips to France. Hall was a rather repetitive and unoriginal artist as you can see from the basic sameness of the buildings and their similarities to the work of Rice (who had cabin-fever) but as an American she could ignore the British conception of things and made the Highlands look like a cross between the Rocky Mountains and Pont Aven. OK, it's easy enough for a European like myself to snigger but by comparison, Rice looks merely craftsmanlike. The question is, though, was he there as well?
Cristóbal Schmal’s block print series, Ein haus für immer. . .
Opium, 1924 O Yuki the Frost Fairy, 1916 Song of the Brook, 1916 Wind Sprite, 1920 The Fox Woman, 1920
1931, Maurits Cornelis Escher (1898 - 1972) Illustration tirée de « Les terribles aventures de Scholastica » de Jan Walch.
Arie Zonneveld (1905-1941) Sea Pines
