$350
Behind the Pines
COWLEY, Gil
This work is on hold for a client. Please email to check availability. Color intaglio and viscosity print on wove paper, February 1964.Edition of 1...
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color
- beige
- black
- blue
- bright
- brown
- green
- inky
- muted
- olive green
- orange
- orchre
- pink
- red
- subtle
- teal
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era
exhibition
format
location
nationality
printer
publisher
scale
scape
- abstract
- animal
- animated
- bird's eye view
- cafe restaurant
- cityscape
- countryside
- desolate
- field
- figure
- floral arrangement
- garden
- interior
- invention
- landscape
- portrait
- river
- seascape
- still life
- street
- town
- waterscape
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style
- abstract
- abstracting
- art deco
- art nouveau
- belle epoque
- etching revival
- impressionism
- mid century
- modernism
- painterly
- pont aven
- post impressionism
- realism
- topographic
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subject
- alcolhol
- animal
- baby
- bird
- birds
- boat
- buildings
- cafe bar
- celebration
- charity
- child
- city life
- couple
- crowd
- dog
- downtrodden
- dress skirt
- drink
- dusk
- face
- farmer
- fashion
- field
- figure
- forest
- grass
- hat
- house
- interior
- intimacy
- labor
- leaf
- leisure
- man
- marriage
- memento mori
- modern woman
- moonlight
- night life
- old people
- out about
- Paris
- pattern
- people
- plant
- play
- portrait
- religion
- river
- rocks
- seated
- sky
- social commentary
- street
- text
- transportation
- tree
- village
- walking
- windmill
- woman
- zen garden
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technique
- aquatint
- color aquatint
- color etching
- color intaglio
- color viscosity
- drypoint
- etching
- intaglio
- roulette
- soft ground etching
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weather
year
Painterly Prints
It may be hard to fathom today, but once upon a time prints were monochromatic. When the first generation of Western printmakers challenged themselves to create etchings, lithographs, and woodcuts in color, their efforts were at first viewed with disdain by many. Japanese woodcuts, which had been printed in color for hundreds of years by then, showed artists the way. This revolution was particularly hard-fought for intaglio: etching, aquatint, drypoint, and assorted copper-plate techniques. Etching was regarded mostly as a “graphic” art, from the ancient Greek, γράφειν: to write. The expectation was that the graphic artist was to render his vision in line or grayscale only. Color was for painting. Yet many printmakers forged ahead, threw caution to the wind, pushed the envelope. This selection is an ode to those works of art: painterly etchings.
$450
Meeting Place in Saint-Maximin
CAPORASO, Angelica
Lieu de Rencontre – St Maximin (original French title) Color etching and aquatint on BFK Rives wove paper.Edition of 50.Signed, titled, numbered an...
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$1,400
Dusk
LANGASKENS, Maurice
Crépuscule (original French title) Color aquatint and etching on wove paper.Edition of 100, but scarce. We have yet to encounter another impressi...
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$175
Space Object
CIESLARCZYK, Adolphe
Color aquatint printed on wove paper. Edition of 40. Published by Jacqueline de Champvallins, Paris. Signed and numbered "4/40" in pencil. TO SEE M...
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