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.
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Londres (d'apres Maximilien Luce) (original French title) Color aquatint printed on wove paper.Reference: Ginestet & Pouillon E663.Published by...
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La Coulée (original French title) Color aquatint and etching on laid paper.Ref: not in BN-IFF.Edition of 50, but like all of this artist’s prints, ...
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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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Droom der Aanbidden (original Dutch title) Etching and aquatint printed on thick tan wove paper.Two states, one without the background of the sun’s...
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