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The Bendeliere Farm
VILLON, Jacques
La Ferme de la Bendelière (original French title) Etching and aquatint on wove paper.Reference: Ginestet & Pouillon E 138.Edition of 50.Signed ...
View full detailsWhile printmakers have always wanted to present some shading or grayscale in their work, until the discovery of aquatint in the 17th century, doing so was technically very challenging. And with a few notable exceptions, such as in the etchings of Francisco Goya, aquatint, this most painterly of intaglio techniques, remained unpracticed by most printmakers. Aquatint started to gain popularity in the latter part of the 19th century, likely as etching was being rediscovered by Impressionists. These artists were often eager to replicate in their prints the atmospheric qualities found in their paintings. Aquatint, with its granular texture, lends itself to effects that offer an endless range of shading, both in black and white and in color. Because it was practiced so masterfully by artists of the Modern Era, we here at Armstrong Fine Art are true “suckers” for a finely crafted aquatint. Here are a few we have, or have had in the past.
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La Ferme de la Bendelière (original French title) Etching and aquatint on wove paper.Reference: Ginestet & Pouillon E 138.Edition of 50.Signed ...
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La Messe en Bretagne (descriptive French title) Aquatint, etching, roulette & drypoint printed in color on Arches laid paper, circa 1900.Refere...
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Le Femme au Piano, d’après Marcel Gromaire (original French title) Color etching and aquatint on thick wove paper.References: Ginestet & Pouil...
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Jardin du Luxembourg (original French title) Color etching and aquatint on laid paper. Ref: Goldschmidt 25. Edition of 50. Published by Charles H...
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Color aquatint and etching on wove paper. Edition of 30. While this is the edition stated by the artist it looks unlikely that it was printed in fu...
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Color aquatint on Arches wove paper.Reference: Ginestet & Pouillon 663.Edition of 200.In the late 1920's Villon etched a number of prints after...
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