Mood Indigo
CHERNOW, Ann
Aquatint and etching printed in dark bluish-black ink on wove paper. Edition of 12. Signed, titled, and numbered in pencil.
While 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.
Aquatint and etching printed in dark bluish-black ink on wove paper. Edition of 12. Signed, titled, and numbered in pencil.
after Paul CÉZANNE (1839-1906) Les Joueurs de Cartes (original French title) Aquatint and etching printed in color on Arches wove paper.Reference: ...
View full detailsLe Femme au Piano, d’après Marcel Gromaire (original French title) Color etching and aquatint on thick wove paper.References: Ginestet & Pouil...
View full detailsLa Vieille (original French titles) Color aquatint and soft-ground etching on thick wove paper.Ref: BN-IFF 4-5; not in Addade.Edition of 50, quite ...
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