Tag Archives: intaglio

New artist: Cynthia Back

WPG would like to welcome Cynthia Back as our newest gallery member.  “Wait,” you say, “didn’t WPG just add an artist?”  Yes, we did, and you can see a selection of Linda Rose Larochelle’s work newly up on our website!  Cynthia now has a webpage, too, but if you just can’t wait for it to load, check out the slideshow, below!

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Printmaking 101: Intaglio and Relief revisited

Ooooh, remember the Art Babble pressure + ink video we linked to last week on lithography?  They have one for intaglio and for relief printing, too!  They’re shorter than the litho video, but you can still see the materials and differences.  Enjoy!

From the Spring Newsletter: Looking at Intaglio Prints

We’ve got a great spring newsletter out today!  You can read more about Max & Ed’s current exhibition, Margaret Adams Parker’s upcoming exhibition in May, and eight printmakers’ takes on intaglio (including additi0ns from our friends at the New York Society of Etchers!).  The text and image below come from this beautifully illustrated 8 page spread.  Click on the link above to see the newsletter and read more about the other intaglio artists!

"He Passes Like A Shadow" by Sarah Sears

“He Passes Like A Shadow” by Sarah Sears

My goal with a print, no matter its content, is to imbue it with a sense of mystery and magic. I work mostly with soft ground and do a tremendous amount of scraping – whether to obliterate or enhance, I am never sure. Many times my final result is completely different from the image I started with. Often I get lost somewhere in the middle and either give up or sand the whole plate down and start over. In spite of this distressing process, etching has maintained its grip on me because of the rich textures and intense values that copper will yield. Nothing is blacker than the blackness of an etching, nor is anything more exciting than the intensity created by that black contrasted with lighter areas. ~ Sarah Sears

Sarah Sears’ prints have been included in many exhibitions in the US and abroad including shows at the International Print Center of New York, the Danforth Museum (MA), the Jerusalem Print Workshop and Pyramida Center (Israel), the Bronx Zoo, the National Arts Club (NYC) and many other venues. Her prints have received many awards and are held in collections of the Metropolitan Museum of Art, the Smithsonian Institution, The Bronx Zoo, the Gilkey Center, the Memorial Sloan Kettering Cancer Center and additional private and corporate collections.

Intern Perspectives: A Thing or Two

Summer Internships are underway at WPG.  We will have three lovely young ladies joining us this year, the first of whom, Laura Devinsky currently studying at Guilford College, started yesterday.  Laura jumped right into her internship duties and provided us with today’s blog entry on Ellen Verdon Winkler’s current solo show.  Haven’t seen it yet?  You have until Sunday (yes, we’re open this holiday weekend). 

“Two Things” by Ellen Verdon Winkler

At the Washington Printmakers Gallery this month, Ellen V. Winkler’s recent collection – “A Thing or Two” – has many intaglio with chine collé works, as well as a splash of pencil, charcoal, and monotype works in the mix. When Winkler says “A Thing or Two,” she is literally talking about several of her pieces. While some are more clear cut – a person or a house – there are several pieces where you are unsure of what the artwork is depicting. Is it an apple? A seed? A flower? The uncertainty lies in the viewer’s imagination to decipher what Winkler is depicting.

“Three Things” by Ellen Verdon Winkler

My favorite works are in a five-some series: “Two Things” (in charcoal), “Three Things,” “Two Things State I,” “Two Things State II,” and “Two Things” (intaglio with chine collé). This series shows Winkler’s attention to detail and shadowing with different materials. But throughout the series, at first glance I was unsure what these “things” were – were they cherries? Or were they balls on string? But after a few moments of deeper looking at the attention to detail – the lines depicting the ridges – it came to my attention that more likely than anything – they were the spikey seeds from trees that often appear in the spring or fall; and are quite prickly if one steps on one in bare feet.

“Cocoa” by Ellen Verdon Winkler

But not the whole collection is of these prickly seeds; Winkler shows her range of technique and interest of subject. There is the “Alley” where one could walk into the picture and feel right as if that’s where they were standing. With dark shadows and detailed stair railings, it gives off the emotion of somewhere where one may not want to be late at night. And then there is “Cocoa” a dog laying down, looking absolutely fluffy. With pen and ink Winkler has been able to capture this tired dog with the upmost precision. Finally, Winkler shows off a more abstract side with two monotypes and a charcoal piece entitled “Boulders, Rock Creek, I,” “Boulders, Rock Creek, V,” and “Boulders” (respectively). Winkler shows in her collection her range and love of detail; and she most definitely captures the idea that everything in the collection is “A Thing or Two.”

From our Newsletter: NY Society of Etchers Invitational

The following is an excerpt from an article in our Winter Newsletter, which you can see in its entirety at the link above.

"Flying Fish in Blue" by Stephen Fredericks

The 2012 Invitational follows ‘Bewick’s Legacy: Six Contemporary British Wood Engravers’ as a second group invitational, which this time will show approximately forty prints by ten artists, all directors of the NY Society of Etchers. The prints of the NYSE will include a wide variety of stylistic approaches, from straight line etching to heavily scraped and re-worked plates, from improvisational and free handwork to more carefully planned images. Viewers visiting the exhibition will see both figurative and abstract images as well as prints that celebrate process, explore narrative subjects, or pursue conceptual approaches.

Richie Lasansky, whose work will be included in the exhibition, comments, “There is no particular theme or restriction for our show, and although we are the NY Etching Society, that isn’t an indication of our technical preferences and is actually more of a nod to a previous organization: the NY Etching Club (active from 1877-1894). As far as technique, there will be all kinds of etching: lift ground, soft ground, spit bite, aquatint, straw hat, white ground. Direct techniques (such as) dry point, scraping, burnishing and engraving, (as well as) monotype, solar plate etching and some paper litho. And even the odd woodcut or two.”

"Unrestrained" by Susan Sears

As a group of exhibiting artists, the NYSE began its formal exhibition program in 2000, creating and collaborating in 20 exhibitions of artist prints. Eight of these efforts have focused exclusively on the graphic arts of local emerging artists and not-for-profit workshops; thirteen of the shows have had international influences with collaborating artists from Hungary, China, France, Ireland, Peru, the Ukraine and Australia. The remaining seven exhibitions have been organized on behalf of cultural institutions in Bridgeport, CT, the Ukrainian Institute of America and the Paramount Center of the Arts in Peekskill, NY. So far, ten exhibitions have been documented with professionally published catalogues.

The NY Society of Etchers Invitational will be on view January 4-28, with an opening reception on Saturday, January 7 and a talk by Stephen Fredericks followed by a closing reception on Saturday, January 28, at 1:30 pm.

From our Fall Newsletter: 1st National Exhibition of Intaglio Prints

"Out Through the Arches" by Margaret Adams Parker, one of the artists included in the 1st National Intaglio Exhibition. This print is in WPG's "Drawn to Print" exhibition.

In June 2011 the 1st National Exhibition of Intaglio Prints, hosted by the New York Society of Etchers, was exhibited in NYC. Prints were juried by Roberta Waddell, recently retired curator of prints at the New York City Library. Stephen A. Fredericks, founder of the New York Society of Etchers, arranged for the exhibition held at the National Arts Club. Pauline Jakobsberg’s etching and silkscreen print, ‘Pen Pal’, was included as well as prints by Peggy Parker and Jenny Freestone. Peggy and Pauline attended the reception on June 9th. The beautiful rooms of the National Arts Club were filled with printmakers and lots of shop talk, and the walls were graced with at least 100 selected pieces in varying techniques. Stephen Fredericks was a great host and Pauline and Peggy had the opportunity to spend time with him as well as the juror. Richie Lasansky (1st place award winner from NSW in 2010) was also in attendance and the NY Society of Etchers is looking forward to WPG’s January Invitational. A catalog of the NY exhibition is forthcoming. For more info about the exhibition and the NY Society of Etchers, please see their website.

Intern Perspectives: Edward McCluney

We hope by now you’ve had a chance to check out some of the prints from our newest artist member, Edward McCluney.  If you haven’t, read on for some insight from our summer intern, Ashley Ruel, and see some of his prints!

"Sepia Olive," intaglio by Edward McCluney

The prints of Edward McCluney range with a variety of techniques and visions.  With his different approaches to creating prints he gets different results out of them. For example his detailed intaglio’s such as “Wedding Guest II” or “Sepia Olive” have a softer feel than his linocuts, allowing you to get lost in the fine lines that make up the entire image, and appreciate the hand-drawn quality. Not only do they reveal strength in his ability to render realism, but through use of lighting and marks he captures the emotional content.

McCluney approaches each linocut differently as well, some of them such as his nude figures are large shapes described with thin simple lines, while others are much more worked with intense detail.

"Ella," linocut by Edward McCluney

The trait they all have in common is that McCluney is always in control of creatively utilizing positive and negative space with contrast.  An example of this is the portrait “Ella” (part of his Nine American Masters Series). The shadows imply planes yet at the same time melt into the background, creating the dramatic lighting that gives these prints a harsher quality. Other great examples of his use of black and white include his linocuts of abandoned boats in beautiful natural settings. These draw your attention to the carved quality achieved with the chosen process. It’s something that can also be seen in my personal favorite “Gargoyle and Five Doors”, an intricate image of what could be a haunted house, built up of wonky windows, towers, and shingles, sitting as a looming dark mass surrounded by nothing but the white of the paper. It’s a powerful use of space that McCuluney seems to be aware of in all of his pieces, and it’s a quality that is not only technically effective but visually striking.