Search

The article features several letters written by the British artists Josiah Wedgwood, Thomas Bentley, and Peter Perez Burdett. It presents the portions of the correspondence that relate directly to Wedgwood and Bentley's dealings with Burdett. It indicates that the letters emphasized the full picture of their negotiations over the employment of the new technique in transfer printing on pottery. It is noted that the individual letters in the three-cornered correspondence has been partially absorbed by scholars writing on the early history of aquatint. The opening letter in the correspondence offers the earliest date of Burdett's aquatint invention, which was addressed to Bentley.

The article focuses on the transcription of Paul Sandby's letter for Patrick McMorland concerning an aquatint in Great Britain. It is inferred that Sandby's letter, which is now in the collection of John Leigh Philips, offered several processes and instructional sketches on how to create aquatints using Rosin and wine. The author averred that Sandby, who is an English artist, discovered A Mode of Imitating Drawings on Copper Plates, which he called Aquatinta in 1775. Meanwhile, Philips was considered as a major collector of the works of Joseph Wright and one of the foremost collectors of prints in England.

The article focuses on the collaboration between Scottish artist Jock McFadyen and Michael Taylor of Paupers Press for the publication of the etching and lithographic works of McFadyen.The first etching by McFadyen was titled "I Ran the World." In May 1990, McFadyen began a program of work at Paupers Press that feature will his works. This include five etchings and five lithographs for a portfolio which will be shown at his exhibition titled "Fragments From Berlin" at the Imperial War Museum in 1991. Among his color etchings that used aquatinting are "Donald Duck" and "Trevor." Three other etchings by McFadyen were titled "Cramond."

The article presents the art catalog of artist Pierre Gatier, "catalogue raisonné de l'oeuvr gravé" that was published as an act of filial piety by his son Felix Gatier. It lists about 317 plates and are divided by technique between the aquatints, linocuts, engravings and drypoints. It contained the technique of color aquatint and a treatise on the process and linocuts which mostly reflected the war. Most of the collections, along with the complete set of his engravings were displayed at Fondation Doucet.

The article focuses on the tribute given to the Zurich printer Peter Kneubühler for the modest catalogue printing of "Image to Print: Peter Kneubühler and Artists of his Time/ Peter Kneubühler a umelecki jeho diény" in an exhibition at the Umeleckoprumyslove Museum, Prugue, Czech Republic. The catalogue has depicted an essay by Rainer Michael Mason published in French, Czech and English and a paragraph on each of the six Czech artists in the exhibition. The show also presented, work by Ernst Caramelle, Mario Merz and Eric Fischl. Kneubühler was responsible for pulling over 1,500 different prints that includes Turells' aquatints Still Light of 1990-91.

The article mentions Vija Celmins and her notable works of art. Cited are the methods she used in producing her art such as etchings, drypoints, lithographs, woodcuts, intaglio prints, and combination of drypoint, aquatint and mezzotint. Celmin's early exposure to etched and painted still life of Giorgio Morandi and to the gray paintings of Jasper Johns, and her love for austerity of various tones of gray has been a central feature in her work throughout her life. In one of her interviews regarding the notable features of her work, she stated that she is depicting the supports because it points the decision how the work was made.

The article focuses on the aquatints created by printmaker Charles Newington for Spike Milligan's book "Frankenstein According to Spike Milligan." Film score composer Jonathan Hodge and actor Julian Littman turned to Newington for the visual artistry of their Edward Lear Project, which includes Milligan's book. He also created illustrations for other books including "The Owl and the Pussy Cat," "The Courtship of the Yonhy Bongy Bo" and "The Pobble Who Has No Toes." He will also develop aquatints for audio-visual multi-media CD and DVD.

The article presents the prints of Umbrian artist Alberto Burri exhibited by the Urbino's Academia Raffaelo. The Academia has organized a small show that offers the twenty years of prints of Urbino including the publication of short essays edited by Franco Martelli and Chiara Sarteanesi which stress the printmaking and innovative techniques used by Burri, three etchings and aquatints provided by Milanese poet and critic Emilio Villa and the series of ten lithographs by Burri that accompany the translation of "Villa on Sappho."