'Cat On A Windowsill' and 'Spring Moon' by Vanessa Lubach, contemporary printmaker #womensart
I said I would do this a while ago. So here it is, my take on pen and ink. Pen was really the first medium I seriously worked at. Oh there had been scribbles in pencil and daubs in the vile paint t…
Peace & Love. Perfect for a modern, minimalist, or eclectic style, this trio of prints makes a statement in an entryway, bedroom, or office. Individually hand-printed, no two prints are exactly alike. Print Details (set of 3): > 9"x12" unbleached kozo and bamboo printmaking paper > Safe, non-toxic, vegetable oil-based inks > Signed and dated > Unframed and unmounted > Environmentally friendly, sustainable art > Each print is lovingly hand-printed by me in Pittsburgh, Pennsylvania > Every print is carefully printed by me using ink rollers and a printing press > I mix my own ink colors every time I print, so colors may vary very slightly > Your print will look almost identical to the print in the photographs here but there may be tiny differences because every print is unique and extra special - this is the charm and appeal of block printmaking by hand! > For more information about the linocut printmaking technique, read my FAQs and my About section below. > Say hi on Instagram and view more behind-the-scenes pics! www.instagram.com/winterpicklepress/
Pen and Ink Drawing by Afshin Amini. #AfshinAminiArt
India ink brush pen on paper and then graded in photoshop. I hope to make an actual linocut with a similar composition soon.
Inkwell and feather quill linocut print, 8x10. This hand-pulled linocut print of an antique inkwell and feather quill pen was pressed in metallic gold on beautiful cotton letterpress paper. The linoleum block is carved by hand, inked, then each linoprint is pressed individually. Due to the printmaking process, there will be variations from print to print. All materials are archival. •Paper measures 8 x 10in (ready to be popped into a standard frame) •Image measures appx 3x6in •Frame not included •Initialed on the front & signed on the back •Paper = Cotton Lettra letterpress paper, bright white, 100% cotton •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• ✪ SHIPPING::: Your print will be carefully packaged and will ship flat in a bend-proof mailer. When purchased with a larger print it ships in a tube. ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• back to shop: http://www.etsy.com/shop/thebigharumph ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• www.facebook.com/BigHarumph © Andersen ::: the big harumph +++ s o . h a n d m a d e . i t . h u r t s +++
This New York City giclee print is a reproduction taken from my acrylic painting of NYC Yellow Taxi Cabs and Manhattan Skyscapers and street signs. I painted the original using acrylic paint with dip pen and ink line drawing • Printed on Matt Ultra 240gsm white paper using archival quality inks • IMAGE SIZE 9.5" x 12.5" • PAPER SIZE 11" x 14" • 3/4" white paper border all around image • Smooth paper with a bright white surface • Small text printed in lower left corner of print reads - 'New York Taxi Cabs www.clarecaulfield.co.uk' * This print is NOT SIGNED or TITLED * I have stocked my shop with a new range of giclee prints and canvases made and shipped directly by my giclee printers. Please note this dropshipped range of prints are not signed. I am an artist and printmaker producing artwork based on iconic cities. Working in a lively drawing style I create views of many inspiring locations including Paris, Venice, New York, London, Prague, Sydney, Reykjavik, San Francisco and Istanbul. Working in my studio in Yorkshire England, I produce mixed-media paintings, original handmade prints, limited edition prints and art cards inspired by my travels all over the world. I CAN ALSO MAKE CUSTOM SIZED PRINTS ON EITHER PAPER OR STRETCHED CANVAS, INCLUDING ENLARGEMENTS PLEASE CONTACT ME FOR FURTHER INFORMATION AND PRICES This image is copyright of the artist Clare Caulfield ©2020 (Image reproduction rights do not transfer with the sale of the print)
21 x 29,7 cm, ink on paper, Kevin Lucbert, 2014.
Bristol-based printmaker Melanie Wickham talks to Melanie Ann Green from Felt Me Up Designs about her lino prints, her home studio and her guinea pig companions…
Saatchi Art is pleased to offer the art print, "The Seamstress' Tale #4," by Christian Johnson, sold and originally listed for $440 USD. Original Printmaking: Linocuts on Other. Size is 16 H x 12 W x 0.1 in.
Boy In the City, Edward Palmer This week I checked out the exhibition American Scenes: WPA-Era Prints of the 1930's and 1940's at La Salle University Art Museum. The show featured prints from both the museum's permanent collection and the Free Library of Philadelphia's Print and Picture Collection. The WPA (Works Progress Administration) sought to provide employment for artists and bridge cultural divides during the Great Depression by (among other efforts) commissioning a huge number of works of art. What is impressive about this exhibition of fine art prints alone is that while a wide variety of styles and artists from varied backgrounds is represented, the common theme of a specific era in the United States comes across. Although I didn't feature them here because they were not woodcuts, my two favorite pieces from the exhibition were an intensely humanizing mezzotint portrait by Dox Thrash, and a colorful engraving of musicians by Hilda Husik. Before seeing the works face to face, I was a little worried that I'd encounter images of melodrama and idealized Americana. Some of the prints in the show, at a quick glance, seem as if they could be that. But under closer inspection I saw that through nuance and artful (and often experimental) methods, each artist managed to convey a deep sense of humanity. (Okay, except Thomas Hart Benson's works - I hate that guy's work. It all seems just pretty, but heartless. Maybe I'm missing something.) Taken as a whole, I interpreted certain consistent messages: hope and a sort of quiet endurance as people faced great difficulties, the various associations (both noble and devastating) of hard, physical labor in both rural and urban settings, and an ultimately vibrant human spirit against the backdrop of rapid and monumental change. Coal Mining, David Burke In this post I've included three of the color woodcuts in the show. The first is Edward Palmer's Boy In the City. The actual print is about the size of a large book cover. I felt as if I were looking through a window to the past. What most intrigues me about this image is the bag of toys (including a figure of the exotic elephant)*, beside a boy who appears perhaps too old to play with toys. Or maybe he's just in that transition between boyhood and manhood. His face is in dark show under his cap, and he occupies a cluttered, disheveled environment. But I cannot help but feel that this image contains a great message of hope. It is a soothing moment in time; the background color is distinctly warm, and we see from the angle of the sheets hung out to dry that there is a calm breeze. His gaze points up, and light is shining on this young man. *It was brought to my attention that what I thought was a toy elephant in the bag in the bottom righthand corner of Palmer's Boy In The City, might actually be a scrawny cat crawling into a bag of food. When I looked at the image again, it now seems obvious - mainly based on the context of the image - that it is indeed a stray cat, and not a toy. (This edit was added on 3/31/14.) My favorite woodcut in the show was David Burke's Coal Mining. The eerie and threatening nature of working underground is conveyed through an unexpected combination of dark hues and slanted beams which seem poised to collapse. The two miners are simple and stylized, yet their gestures are animated. While everything else seems barely scratched into existence, they bulge out and are glowing with heat and movement. Woodbine, Ernest Watson The third print featured here is Ernest Watson's Woodbine. Though the colors are rather cheery, the scene quiet, and the cow seems rather healthy and robust, I get a strong sense of entropy from this image. The tree, the buildings, and the fence all heavily lean as if being slowly pushed down by their own weight and old age. The blue of the sky is slashed. It all fades and then abruptly vanishes at the edges. Though to some degree this seems a quaint and cozy scene, the impermanence and vulnerability of this way of life weighs heavy in the back of my mind. With these three woodcuts alone, I feel I've showcased some of the wide variety of artistic styles featured in the exhibition. Learn more about the exhibition from the press release. Better yet, if you get a chance, visit the museum (free admission!) Mondays-Fridays, 10am-4pm. And if you can't get to the show but want to have an intimate viewing experience with the works in this show, La Salle has published an exhibition catalog for sale on lulu.
Pen and ink. 15.5 x13 cm. Annigoni was born in Milan. He studied at the Accademia delle Belle Arti in Florence, taking classes in painting, sculpture and engraving. Basing his style on the Italian old masters he studied their techniques, learning the art of 'oil tempera' under the Russian painter, Nikolai Lokoff. Initially Annigoni's success was limited to Italy where his sharply evocative landscapes were very popular. In 1947 along with Gregory Sciltian, the brothers Antonio and Xavier Bueno, and others, he signed the manifesto of the 'Modern Realist Painters', coming out in open opposition to abstract art. Alone among the signatories Annigoni remained true, both aesthetically and ethically to the doctrines of the manifesto. His art was brought to the attention of the British public when, in March 1949, the Royal Academy accepted some of his works for the annual exhibition and the move from relative obscurity to instant recognition came in 1954 when he received a commission to paint the young Queen Elizabeth II. The commission from the Worshipful Company of Fishmongers brought instant fame. Crowds flocked to see the painting when it was exhibited at the Royal Academy in London and a limited-edition print published by The Times was fully subscribed. Sir Alfred Munnings, former President of the Royal Academy, declared Annigoni to be 'the greatest painter of the age'. This painting was followed by a portrait of the Duke of Edinburgh and another of Princess Margaret in 1957. In typical style the portrait is painted in immense detail, with the Princess depicted amongst the roses evocative of her name. The fabric of her cloak is reminiscent of the religious frescoes he painted as a younger man, imbuing the portrait with a magical, ethereal quality. Annigoni remained a prominent artistic personality until his death in Florence in 1988, his paintings a powerful evocation of the great Renaissance tradition.
Wimmer, Franz (1892 Wien 1974). "Judith". Radierung 20. Jh. 33 x 25 cm. Sign. u. betitelt. - Schönes Ex.
В художнике Э.-М. Лилиене, сыне бедного ортодоксального еврея, резчика по дереву из Дрогобыча, я впервые встретил еврея Восточной Европы и тем самым еврейство, о силе и цепком фанатизме которого я до сих пор ничего не знал. Стефан Цвейг. Вчерашний мир (воспоминания).…
Ian McQue
Explore illustrationfan's 9 photos on Flickr!
Jaco Putker is a printmaker from the Netherlands. He uses a technique that allows him to combine photography and etching: solar plate etching. This way,
Self-Portrait 1888 oil on canvas 65.5 x 50.5 cm This is part 4 of a 5-part post on the drawings of Vincent van Gogh (1853 - 1890). Vincent van Gogh's more than 1,100 drawings remain comparatively unknown, although they are among his most ingenious and striking creations. He engaged drawing and painting in a rich dialogue, which enabled him to fully realise the creative potential of both means of expression. For more notes on van Gogh's drawings see part 1. For earlier works see parts 1 - 3 also. Note: Where a drawing relates to a finished oil painting I have also shown the painting: 1888 Garden with Flowers pen and ink 24 x 31.5 cm 1888 Garden with Flowers pen and ink 49 x 61 cm 1888 Garden with Sunflowers pencil, pen and ink 60.7 x 49.2 cm 1888 Harvest Landscape pen and ink on paper 24.1 x 31.8 cm 1888 Harvest Landscape pen and ink 24.2 x 31.9 cm 1888 Harvest in Provence, at the Left Montmajour pen and watercolour 39.5 x 52.5 cm 1888 Harvest Landscape ( see painting below ) watercolour 1888 The Harvest oil on canvas 75 x 92 cm 1888 Haystacks near a Farm pen and ink 24.1 x 31.8 cm 1888 Haystacks near a Farm ( see painting below ) pen and ink on paper 24.1 x 31.9 cm 1888 Haystacks near a Farm oil on canvas 73 x 92.5 cm 1888 Hill with the Ruins of Montmajour pen and ink 1888 Joseph Roulin, Sitting in a Cane Chair, Three-Quarter-Length pen and ink 1888 Joseph Roulin, Three-Quarter-Length ( see painting below ) pen and ink on paper 51.4 x 42.2 cm 1888 Joseph Roulin, Sitting in a Cane Chair oil on canvas 81.3 x 65.4 cm 1888 La Crau Seen from Montmajour pencil, pen and ink 48.6 x 60.4 cm 1888 Landscape near Montmajour with Train pencil, black chalk, pen and ink 1888 Landscape with Hut in the Camargue pencil, pen and ink 1888 Landscape with Path and Pollard Trees pencil, pen and ink on paper 25.8 x 34.7 cm 1888 Lawn with Weeping Tree pencil, pen and ink 1888 Meadow with Flowers pencil, pen and ink on paper 25.7 x 34.7 cm 1888 Newly Mowed Lawn with Weeping Tree pencil, pen and ink 1888 Newly Mowed Lawn with Weeping Tree pencil, pen and ink on paper 1888 Olive Trees, Montmajour pencil, pen and ink 1888 Orchard with Blossoming Plum Trees ( The White Orchard ) pen and ink heightened with opaque white 39.5 x 53.6 cm 1888 Portrait of Patience Escalier ( see painting below ) pencil, pen and ink 49.5 x 38 cm 1888 Portrait of Patience Escalier oil on canvas 64 x 54 cm 1888 Portrait of Patience Escalier ( see painting below ) oil on canvas 69 x 56 cm 1888 The Old Peasant Patience Escalier with Walking Stick, Half-Figure pen and ink 1888 Portrait of the Postman Joseph Roulin ( see painting below ) pen and ink 31.8 x 24.3 cm 1888 Portrait of the Postman Joseph Roulin oil on canvas 64 x 48 cm 1888 Quay with Men Unloading Sand Barges ( see painting below ) pencil, pen and ink 1888 Quay with Men Unloading Sand Barges oil on canvas 55 x 66 cm 1888 Road with Trees pencil, pen and ink 24.6 x 23.9 cm 1888 Rocks with Trees pencil, brush, pen and ink 49.1 x 61 cm 1888 Sower with Setting Sun ink [ on a letter ] 1888 Sower with Setting Sun ink on paper 1888 Sower with Setting Sun ( see painting below ) pen and ink 24.4 x 32 cm 1888 Sower with Setting Sun oil on canvas 64 x 80.5 cm 1888 Street in Saintes-Maries pen and ink 30.5 x 47 cm 1888 Street in Saintes-Maries ( see painting below ) pen and ink 24.3 x 31.7 cm 1888 Street in Saintes-Maries oil on canvas 38 x 46 cm 1888 The Road to Tarascon with a Man Walking pencil, pen and ink on paper 25.8 x 35 cm 1888 The Zouave ( see watercolour below ) pen and ink 1888 The Zouave ( see painting below ) wax crayon, pen and ink, watercolour on paper 31.5 x 23.6 cm 1888 The Zouave oil on canvas 65 x 54 cm
Claude WEISBUCH : Dom Juan X Circa 1990 Gravure à la pointe sèche sur papier "Narcisse" des papeteries du Moulin de Larroque d'un format de 38 x 28 cm. Numérotée 11/30 et signée au crayon par Claude Weisbuch. Œuvre certifiée.
"Squiggly Bear" is an expressive and fun depiction of an affable woodland bear, capturing his character and personality in a loose, energetic style. My "Squiggly Animals" series is an expressive collection of animal favourites and makes a bold, colourful and positive addition to any wall or display. Created from my original pen and ink drawing which is then used to produce a hand pulled screen print using green water based ink onto smooth Somerset Satin, traditional white printmaking paper 250gms, mould made from 100% cotton which shows the colours and the print to a high quality. This original print is part of a limited edition of 50 prints and is supplied unframed. Print size is A4 - 297mm x 210mm Each print will be carefully packaged for safe delivery. Item ships from UK. Delivery of prints in UK are by 1st class Royal Mail fully trackable service which aims to deliver in 1-2 working days.
