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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.

Gil Cowley - Gilbert Henry Cowley - Behind the Pines - color intaglio etching aquatint - color viscosity - Stanley William Hayter - Atelier 17 - detail
$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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