Martyr Square and the "Penal Colony" Tavern
BUHOT, Felix
La Place des Martyrs et la Taverne du Bagne (original French title) Etching and aquatint printed in two tones on tan wove paper.Reference: Bourcard...
View full detailsIt 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.
La Place des Martyrs et la Taverne du Bagne (original French title) Etching and aquatint printed in two tones on tan wove paper.Reference: Bourcard...
View full details"Convoi Funèbre au Boulevard de Clichy" (original French title) Etching, aquatint, roulette, and touches of drypoint printed in color, from three p...
View full detailsLe Remouleur (original French title) Color etching, aquatint and drypoint printed on simili-japon paper.Ref: Delteil 76 II/III.One of 63 impression...
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