A lot more printing today with some further work on the woodblocks - a lighter grey followed by an overlay of acid blue monoprint. What was fascinating was different peoples' reaction to the dark and light grey with a 50 -50 split of preferences - I think I (marginally, in the end) preferred the light.
I returned to the pipe and produced a third version with a few variations but keeping a dirty yellow -nothing cheerful here, y'know!
This time I didn't really forget the photos but hands were mucky all day and when finished, prints were all drying; so when they are all cleaned up for assessment I will do a photo-call, and equally I will do a selection for the sketch book.
I have been updating my contextual notebook, but a book I am reading on Romantic Art reminded me that I had omitted to mention an artist whose graphic work during this period has proven to be of lasting importance and that is Francisco de Goya (1746 - 1828 ). Goya has always been one of my favourite artists and it was much of his print-work that impressed me when I was a lot younger and wasn't really aware of what graphic work of this type was (in passing, I should mention Robert Hughes life of Goya which is highly opinionated but very informative and entertaining).
His technique was and is relatively unusual - etching combined with aquatint, producing large smooth areas in the images:
Por Que? - Disasters of War -1823
Towards the end of his life he adopted the new technique of lithography for the freedom it gave to produce his bull-fighting scenes - Tauromaquia:
On my way home the evening the weather was cold and a little fog was creeping in again producing this image of The Church ( I would imagine that over the years this church has been done to death by art students but we all think we are getting a special shot ):
And , of course
Public Print
No comments:
Post a Comment