Etchingfitness: foreign artists

Showing posts with label foreign artists. Show all posts

Circus scene, No. 1, 2012
lithography, paper
74 x 108 cm

Image source: http://www.wpunj.edu/ccart/visitingartists.html

Un chicoleo (el requiebro a una moza), 1909
etching, aquatint, paper
140 × 217 mm

Interior de una posada
etching, aquatint, paper
140 × 215 mm

Rezo en la iglesia
etching, aquatint, paper
137 × 215 mm

Image source: http://www.alcalasubastas.es/es/subastas/7/22-contemporaneo

Helius in the desert, early 17th century

etching, paper

290 × 250 mm

source: https://commons.wikimedia.org/wiki/File:Anthonie_Waterloo_-_Elias_no_Deserto.jpg

Egidijus Rudinskas lithuanian artist. Graduated from the Vilnius Art Academy in 1986. Member of Lithuanian Society of Artists. 1990-stipendiary work at Kunstlerhaus Swalenberg, Germany. 1992 and 1995 - Lecturer in etching and drawing at Saarlandische Sommerakademie, Wadgassen, Germany.

Silent Conversation I., 1994
etching, paper
280 × 200 mm

Francisco Goya's (1746 - 1828) twentytwo sheet of the Los Disparates.

1. Disparate femina, 1816-23
etching, aquatint, paper

Video source: www.youtube.com

Rhinoceros, 1515
woodcut, paper
214 × 298 mm

Dürer's woodcut is not an entirely accurate representation of a rhinoceros. He depicts an animal with hard plates that cover its body like sheets of armour, with a gorget at the throat, a solid-looking breastplate, and rivets along the seams; he also places a small twisted horn on its back, and gives it scaly legs and saw-like rear quarters. None of these features is present in a real rhinoceros. Despite its anatomical inaccuracies, Dürer's woodcut became very popular in Europe and was copied many times in the following three centuries. It was regarded by Westerners as a true representation of a rhinoceros into the late 18th century. Eventually, it was supplanted by more realistic drawings and paintings, particularly those of Clara the rhinoceros, who toured Europe in the 1740s and 1750s. It has been said of Dürer's woodcut: "probably no animal picture has exerted such a profound influence on the arts".

The German inscription on the woodcut reads:

"On the first of May in the year 1513 AD [sic], the powerful King of Portugal, Manuel of Lisbon, brought such a living animal from India, called the rhinoceros. This is an accurate representation. It is the colour of a speckled tortoise, and is almost entirely covered with thick scales. It is the size of an elephant but has shorter legs and is almost invulnerable. It has a strong pointed horn on the tip of its nose, which it sharpens on stones. It is the mortal enemy of the elephant. The elephant is afraid of the rhinoceros, for, when they meet, the rhinoceros charges with its head between its front legs and rips open the elephant's stomach, against which the elephant is unable to defend itself. The rhinoceros is so well-armed that the elephant cannot harm it. It is said that the rhinoceros is fast, impetuous and cunning."

Image and text source: wikipedia.org

Video about Erik Desmazières (in french).

Video source: www.youtube.com

Jorge Castillo painter, graphic artist. In 1948 he began an apprenticeship in technical drawing and educated himself autodidactically. With his move to Geneva in 1966 he had the opportunity to work with printed graphics. His most important etching sequences such as "El mundo de Frederico García Lorca" and "Grands amants"

ca 2, 1973
etching, aquatint, paper
490 × 400 mm

Utagawa Kuniyoshi
Takiyasha the Witch and the Skeleton Spectre, 1844
color woodcut, paper
370 × 750 mm

Source: wikipédia.hu

Paul Klee (1879 - 1940) swiss painter, printmaker. In his first period (1903-1914) he has made etchings.

Woman and beast, 1904
etching, aquatint, paper
172 × 200 mm

Martin Lewis (1881 - 1962) ausztralian artist. In 1900, Lewis left Australia for the United States and learned from Edward Hopper the basics of etching

Night in New York, 1926
etching paper
215 × 226 mm

Zina Nedelcheva a graduated Graphic artist at the Bulgarian National Academy of Art.

Circus of life II.
etching, aquatint, paper

Vello Vinn estonian graphic artist. His visionary etchings have made him a prominent figure in Estonian graphic art.

Sandglass, 1970
etching, drypoint, paper

Albrecht Dürer The sixteen subjects of the Engraved Passion are not as uniform in character as Dürer's two woodcut Passions because their development is spread over a longer period of time. Dürer seeks out difficult problems, extreme foreshortenings, details of heads and bodies, effects of costumes, all features which are omitted from the woodcut versions.

Passion I, 1509
Man of Sorrows by the column
etching, paper
116 × 75 mm

Although I've written about Rembrandt, to study his etchings it's not unavailing. Over 300 pieces of his etching-oeuvre are almost seems to exhaust all possibilities, from drawing like pen sketches to the well edited pictorial compositions, from the prints with clean white backgrounds to the tonal ones.

St. Gerome (unfinished), 1653
etching, paper
297 × 277 mm

Käthe Kollwitz (1867 – 1945) was a German painter, printmaker. Her empathy for the less fortunate, expressed most famously through the graphic means of drawing, etching, lithography, and woodcut, embraced the victims of poverty, hunger, and war.

Revolt, 1897
etching, paper
296 × 236 mm

Gustave Baumann (1881 - 1971) was a printmaker and painter, and one of the leading figures of the color woodcut revival in America. In Santa Fe, Baumann became known as a master of woodcuts and marionette-making. Below there are a few sheets from the "In The Hills o' Brown" series.

The Press, 1910-14
color woodcut, paper
229 × 335 mm

Friedensreich Regentag Dunkelbunt Hundertwasser (1928 - 2000) Austrian architect, painter, printmaker. He never make prints with a large serial number. His works contains more variety of colors, and the whole series get the number.

"If someone who hear the word etching would think of the black and white or pale-colored prints, just look at the graphics of Hundertwasser."