"White dwarf #1": Handmade limited edition burin engraving printing on Hahnemühle paper. 🌟 Key Features: Technique: Burin engraving printing. Inks: Black water-based ink. Support: Hahnemühle paper. Dimensions: 29.7cm × 21cm. Edition: Limited to 35 pieces. Discover the full "Wall art" range available in my store: https://bottegamusci.etsy.com/?section_id=35184709
Entretien avec l'artiste à propos de son apprentissage de la gravure et la création de son œuvre matière, Isola.
1021980 - Succombez à la modernité de cette sublime médaille ronde en or jaune. On craque pour sa gravure contemporaine de l’angelot qui pose son regard protecteur sur le tout-petit.
Voici une estampe japonaise contemporaine en petit format d'une nature morte de Takenaka Fu. Elle est traitée à la façon d'une manière noire, technique de gravure où le fond est entièrement noir et où le dessin se crée par vide de noir. Seule couleur, une touche de vert sur le bord d'une feuille de ce chou dont les nervure compose le dessin. Une composition très graphique où le noir domine. Cette estampe est à tirage confidentiel (30 exemplaires). Edition contemporaine signée par l'artiste et numérotée 2/30 Technique: gravure sur bois Format : 16 x 23 cm Conditions : très bonnes Avec Certificat d'Authenticité.
gravures contemporaines, taille douce, pointe sèche, gravure au sucre, carborandum, aquatinte, linogravure, estampe, art contemporain, abstraction lyrique
Entretien avec l'artiste à propos de son apprentissage de la gravure et la création de son œuvre matière, Isola.
Linocut of the dome of La Grave in Toulouse: an emblematic building of the pink city. This architectural poster in square format 21*21 cm with strong black and white contrast, offers a contemporary view of the structural dome of a former maternity hospital in the city. This illustration highlights the recognizable architecture of the historic building, a contemporary urban art design that can be integrated into gallery frames with a modern, eclectic and urban style. This engraving could be a superb handmade gift for lovers of Toulouse, those who want to keep a memory of the pink city after spending time there (studies, meetings, birth) or even for all Toulouse residents. This could, for example, be a nice gift for a housewarming or decoration: the poster will dress the entrance to a new house or apartment in an elegant way. You will recieve : - an original and unique signed work, *without frame* - engraved and printed entirely by hand, authentic and artisanal printing method - 130g white imitation Japanese paper, square format 21*21 cm - each print has slight variations due to its artisanal printing, making each one unique
John Platt (1886 - 1967) arrived at his last teaching job in 1929 when he was forty-three. Before he came to Blackheath, he had held senior positions at Edinburgh College of Art as head of applied arts (1920 - 1923) and at Leicester College of Art as principal (1923 - 1929). It was the part-time position at Blackheath that attracted him, probably as it had done at Edinburgh. He had begun to make colour woodcuts in 1916 but had produced only seventeen by the time he settled into his top-floor studio, smock and all, in south London. He wasn't prolific; he was meticulous instead. He had started out training as an engineer at Manchester University but was persuaded to go for the art option on the strength of his drawing - and please bear in mind that this was technical drawing, he wasn't at the Slade or anywhere. I say all this so you can get a feel for the kind of regime that Meryl Watts (1910 - 1992) found herself in when she enrolled. When this was, I don't know for sure - about 1930. She was good enough by 1933 to be accepted as a member of the Society of Graver-Printers in Colour. My hunch is that the fuzzy snow-scene you can see above was her first version of the school building. It has something rather strict in common with this kitchen interior, below, and another woodcut she made of a flower seller. Both of these prints rely heavily on the keylock for definition. The interesting thing about her view of the school is that the keyblock is only used to frame the print. This must be the influence of Platt himself. Also interesting is the way she simplifies the facade, removing the brick arches above the first and second floor windows but then adding pediments on the top floor windows. (The image is reversed). Nor does she differentiate between the two types of brick. Platt had gradually begun to abandon the use of the keyblock between 1927 and 1932 and in the top image you can see the effect on his student in her use of planes of flat colour and recession to build up the picture. I also think that the collage, below, was work produced by her as a student under Platt's instruction. Though I have no proof of this it is her work. A number of these tissue collages her by exist, all using the muted greens and brows that became so prevalent in the 1930s. (This one is remarkably similar to his woodcut Sails, 1933). We might see a more subtle sign of his influence in the way she made three versions of her woodcut of the school building. This was very much in line with Platt's own method. It took him so long to produce prints, it's no wonder he then made alternative versions. But her own print is so simple by comparision, in some ways it hardly merits that kind of attention. I don't want to disparage Watts too much by drawing attention to this parental figure. All the same, it's striking that 1930 was quite late in the day to start learning colour woodcut. (And I don't know of anyone else who was taught the technique by Platt at this time). Having said that, I like the blue image, which ignores alot of the architectural detail, the best. You have to work out for yourself if it is the third one she made. But was the influence all one way? Platt's approach had begun to change before he arrived at Blackheath and I've already suggested that it was Charles Paine's use of animal imagery that had a decisive influence on Platt. We have no way of knowing really what he learned from his student's work. But by the time Watt's came to make her Chestnut Seller she could make an image just as striking as Platt's - and, let's face it, he did make some of the most memorable images in British printmaking. It's hardly any wonder she stayed so long in his shadow. Her own father owned a printing works nearby. She wasn't one to stray too far from home. As I said, I would think all these images are local to her. Even her pelican was nearby. She only had to go to St James Park in London to find them on the lake. Platt or no Platt, this is a fine image, with a lovely use of the grain of the wood at the bottom. Subtle, modern, modulated, beautifully modelled, she has got into her stride. I think it is just a shame that as she moved on to north Wales, the oddness of her images starts to prevail. Flounder I like less. It is less modern that it looks. It's a pretty picture rather than analysis. To me, her later work shows she never really understood the modernist outlook - or that she just abandoned it, the way one abandons the keyblock. The print is also the work of a modeller. (She studied under the sculptor, James Woodford). In some ways she was the permanent student and once away from the institution, she loses direction. These two later prints of the Welsh landscape, for all their skill, are a touch stilted and fussy. I wonder also whether Flounder shows the influence of yet another of her teachers, the designer of stained glass, Charles Paine? Who knows? It is a refractory work nonetheless; everything shines through.
Contemporary pen & ink art print of twentieth century composer William Grant Still Jr. The copyright symbol and letters are for web purposes only and will not appear on your print. Others available in this series of musicians and composers: Pachelbel, Charlie Parker, Bizet, Vivaldi, Schumann, Shostakovich, Mahler, Beach, Bach... Title: "William Grant Still Jr" Size: A4 (21 x 30cm) Giclee print (i.e. very high quality ink & paper that won't fade in sunlight) Comes unframed This archival print is one of an open edition. I take every care to package my artwork securely, to ensure it arrives in perfect condition. ****Please get in touch with me if you wish to discuss a commission, your ideas, or for licensing queries.***** NEW: Quartet the Composer Card Game! Available in my shop To commission a pet portrait click here: https://www.etsy.com/listing/216853076/custom-pet-portrait-two-animals?ref=listing-shop-header-2 www.margitvanderzwan.com @ArtyMargit tHaNkS fOr VIsiTiNg!
Cette oeuvre d'art contemporain unique et originale”Ricochets a été réalisée par l'artiste contemporaine Castillon Camille. Cette peinture petit format fait partie de la série autour des jardins japonais. Le Japon, et particulièrement la gravure traditionnelle japonaise, sont des références importantes dans le travail de cet artiste. Au delà du sujet, on en relève ici l’influence esthétique.
Panoramic blue non-woven decoration with an engraving of an oak forest. This customizable wallpaper is also available in grey. Add 5 cm to your measurements, on the height and length, these are the safety margins.
Mathilde Jonquière, mosaïste, crée des fresques unique à grande échelle composées de matériaux précieux. La Grand Épicerie, Bon marché, Paris.
Arie Zonneveld (1905-1941) Dutch linoleum and woodcut printer Spring is in the air ! Arie’s blossoming tree printings. The opening print showing one of the first signs of spring in Low Land Countries. Coltsfoot often flowering as soon as in Februari, here underneath typical Dutch pollard willows scenery. I think this must have been a popular print because the first one showing considarable wear of the block comparing it with the one on the left. Last year, through the wonderful and excellent Blogs of Clive (Art and the Aesthete) and Lily (Japonisme) I revealed a cross section of Dutch Arie Zonneveld’s printed art to you. Comparisons were made with great and famous printers: Frances Hammel Gearhardt (1869-1959) and William Seltzer Rice (1873-1963). I think Gustave Baumann (1881-1971) and Pedro de Lemos (1882-1945) should be added to the list (see below for linking to these posts). Baumann the grand and true master of printing blossoming trees. There was a shared amazement concerning quality and originality of this remarkable but unknown and mostly forgotten Dutch printer’s creative output. Could Arie have had knowledge of the works of his fellow American printers? On the European continent many printers were working but not in a style closely resembling his. On his flowers, maybe (I will show those in following postings). Carl Rotky Gustave Baumann Color printing (landscape)artists like Carl Thieman (1881-1966) Hans and Leo Frank (1884-1959), Carl Rotky (1891-1977) and Hélène Mass (1871-) coming to mind. The Austrian- Hungarian printers developing an altogether different style. I can’t think of any English or France examples. Artists like Oscar Droege (1898-1982) showing a completely different approach to printing landscapes. both examples by Gustave Baumann. Earlier I pointed to the books by Pedro de Lemos. In the Netherlands there were simply no printers mastering the art of color printing combining linocut and wood-key block printing that could have been taught or shown to him. Although he visited Italy Arie was not a widely travelled man. I think he figured it out mainly by himself which makes his achievements in color printing all the more amazing. In his short life he has shown a wonderful eye to the beauty around him and an amazing sensitivity and skillful ability to capture the world around and pass it down to us. Even two, three generations later. Visit: http://lotusgreenfotos.blogspot.com/search?q=zonneveld and http://www.clivechristy.com/search?q=zonneveld to catch up on the art of Arie ZOnneveld. To be continued soon ! All examples by Arie Zonneveld unless otherwise stated.
I don’t believe I have mentioned my great love for printmaking, especially linoleum prints. When I finally went back to school, I attended a community college to begin my studies. I received …
Affiche linogravure noir et blanc par Mustard Beetle Oiseau (Paruline) sur une nranche, imprimée à la main sur papier fabriquer à la main.
This art print is part of our Flower Market collection. Exclusively designed by The Edited Room for all those who want an on trend elevated look. Beautiful art Illustration of painted flowers in oil made into a contemporary print. This art print works independently yet can be mixed and matched with other art prints in our collections. Looks lovely as a duo or part of a gallery wall. -------YOU WILL RECEIVE------- 5 high-quality JPEG print files (300dpi) in the following ratios: 1 | 4:5 ratio file for printing: 4" x 5", 8" x 10", 16" x 20", 24" x 30", 20 x 25 cm, 40 x 50 cm 2 | 3:4 ratio file for printing: 6" x 8", 9" x 12", 12" x 16", 18" x 24", 15 x 20 cm, 30 x 40 cm, 45 x 60 cm 3 | 2:3 ratio file for printing: 4" x 6", 6" x 9", 8" x 12", 12" x 18", 16" x 24", 20" x 30", 24" x 36", 20 x 30 cm, 40 x 60 cm 4 | ISO International Paper Size for printing: A1, A2, A3, A4, A5, 5" x 7", 50 x 70 cm 5 | 11" x 14" The above sizes are for reference. You may print at any size you choose based on your preferred ratio, but please remember that sizes above the ones mentioned above may diminish in quality. If you wish for a different size/ratio, feel free to message me with your requirements and we will try to help NO PHYSICAL ITEM WILL BE SHIPPED Your artwork will not have a watermark when delivered ––– PLEASE NOTE ––– 1 | This is a listing for an instant digital download purchase. No physical item will be shipped. 2 | Design details that appear on the print, like blur, filters, texture, noise etc, are intentional. 3 | Actual colours of the printed image may vary slightly from what appears on the screen. 4 | Digital download items are not refundable. 5 | This purchase is for personal use only. 6 | Please carefully read my FAQs,d shop policies,s and terms and conditions before purchasing. ––– PRINTING ––– 1 | Print at home/office. 2 | Take to a local print store. 3 | Upload the files to an online printing service like: www.targetphoto.com, www.shutterfly.com, www.artifactuprising.com and www.mpix.com www.instantprint.co.uk www.prontaprint.com and have it delivered to your door. You can also google ‘poster printing online’ for your area to find a store that best suits your needs. You can print as many copies as you like for your home/business decor or to give as a gift. You can get creative and print your file on canvas, postcards, envelopes, mugs, t-shirts, pillows, phone cases, wrapping paper, decals or wherever you wish. Please keep in mind that this print is for PERSONAL USE only. Commercial use is not allowed. You may not share, forward, resell or distribute this print in any way. The Edited Room retains all rights. ––– PAPER ––– Preferred options are archival heavyweight smooth card stock and matte art paper. It is best printed on an InkJet printer. ––– FRAMING ––– The print is suitable for most commercial frames. Some great frame options can be found at IKEA, H&M, Wayfair, CB2 and Habitat. For more information consult our FAQ
The Pasadena Museum of California Art (PMCA) is proud to present Gustave Baumann in California, the first focused investigation of Gustave Baumann’s influential presence in California. The six-month exhibition running […]
Travaillé dans une technique de gravure et de crayonnés, « Mésanges » puise son inspiration dans les décors orientaux apparus en France au milieu du XVIIe siècle. Mésanges, papillons et libellules virevoltent et se dissimulent dans ce rideau d’arbustes délicatement fleuris... Rehaussée de tonalités or, cette grisaille contemporaine illustre tout ce que la Nature nous offre de beau et de précieux. Un quatre mains créé par Martine Dubreucq et Isabelle Parmentier qui répond avec élégance à une tendance de la Chinoiserie sans cesse renouvelée dans l’univers du décor au fil des siècles. Cette composition végétale, au graphisme situé entre art et design, est notre nouveau partenariat avec la marque de linge de maison de luxe Alexandre Turpault. ______________________________________________ FICHE TECHNIQUE ✁ Choisissez vos dimensions ci-dessous. Les murs ne sont pas toujours parfaitement rectangulaires. Nous vous conseillons d'ajouter une marge de sécurité à vos dimensions (3 à 5 cm). Votre décor sera découpé en lés (75cm de largeur maximale). Papier peint Intissé : résistant à la lumière, encollage sur le mur, lavable, arrachable à sec. Papier Haute Performance Contract : lessivable et résistant aux chocs. Sans PVC. Également disponible en panneau. ➥ Échantillons ➢ Incruster ce décor sur votre mur➢ Colle pour papier intissé INFORMATIONS Expédition en 10 jours ouvrés maximum et livraison en 2 à 4 jours selon les pays. Expédition gratuite pour la France. Veuillez consulter et respecter les instructions de pose.Attention, le papier intissé n'est pas totalement opaque.En cas de support sombre ou coloré appliquer une sous couche ou un liner. Besoin d'un conseil ? Vérification de la quantité nécessaire ?✉ Contactez-nous ! Modèle conçu et imprimé avec soin. Voir notre collection de Papier Peint Décor Panoramique
Arts events for Feb. 20: new woodblock print exhibit, ‘Wizard of Oz’
