Today's postings
- [Baren 40393] Takahashi print (cucamongie # aol.com)
- [Baren 40394] Re: Linoleum ("DePry Clan")
- [Baren 40395] Linoleum (Jennifer Martindale)
- [Baren 40396] for NYC folks, Sarah Hauser's work in Big Paper Winter exhibition, Woodward Gall (cucamongie # aol.com)
- [Baren 40397] ps re Takahashi print (cucamongie # aol.com)
- [Baren 40398] Re: Arts and Crafts/Chicago Art Institute (cjchapel # casco.net)
- [Baren 40399] Print Database (Lee Churchill)
- [Baren 40400] Re: Arts and Crafts/Chicago Art Institute (reneeaugrin # aol.com)
- [Baren 40401] Re: Print Database ("Oscar Bearinger")
- [Baren 40402] New Years card return (Charles Morgan)
- [Baren 40403] Re: 20th Century Woodblock Prints ("Mark Mason")
Message 1
From: cucamongie # aol.com
Date: Wed, 13 Jan 2010 14:34:25 GMT
Subject: [Baren 40393] Takahashi print
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Hi folks, I have a woodblock print by Rikio Takahashi which my mom would
like me to sell for her. It is in absolute pristine condition, is part of a
limited edition of 40, and looks great. You can have a look at it here:
_http://sarahhauserart.com/miscellaneous-stuff.php_
(http://sarahhauserart.com/miscellaneous-stuff.php)
His prints are very interesting, as he achieves the organic, flowing
feeling of a painting, which is not so easy to do in woodblock.
The colors are better than you see here - it is sometimes hard to get the
color correction right with these colors, but you can get the idea. If one
of you folks would be interested in purchasing the print, please write me
off line and we can figure out a price that seems reasonable to both of us.
I'd prefer to sell it this way to a woodblock person who really likes the
print, rather than put it up on ebay or some such thing.
Also, I'd love to hear more about this artist, his prints etc if any of you
are familiar with this artist.
best wishes
Sarah
like me to sell for her. It is in absolute pristine condition, is part of a
limited edition of 40, and looks great. You can have a look at it here:
_http://sarahhauserart.com/miscellaneous-stuff.php_
(http://sarahhauserart.com/miscellaneous-stuff.php)
His prints are very interesting, as he achieves the organic, flowing
feeling of a painting, which is not so easy to do in woodblock.
The colors are better than you see here - it is sometimes hard to get the
color correction right with these colors, but you can get the idea. If one
of you folks would be interested in purchasing the print, please write me
off line and we can figure out a price that seems reasonable to both of us.
I'd prefer to sell it this way to a woodblock person who really likes the
print, rather than put it up on ebay or some such thing.
Also, I'd love to hear more about this artist, his prints etc if any of you
are familiar with this artist.
best wishes
Sarah
Message 2
From: "DePry Clan"
Date: Wed, 13 Jan 2010 15:26:36 GMT
Subject: [Baren 40394] Re: Linoleum
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The shinelayer tends to sometimes delaminate with my experience.
DD
DD
Message 3
From: Jennifer Martindale
Date: Wed, 13 Jan 2010 15:33:48 GMT
Subject: [Baren 40395] Linoleum
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In my experience floor lino tends to be harder and thinner than the art shop product. However I have used it and offcuts are cheap, if not free, which always makes it interesting.
I print with dry pigments mixed with water, so I lightly rub the cutting surface with very fine sandpaper (often called flour paper), to remove the floor finish, before any cutting. It also helps, again before cutting, to stick plywood or thin MDF to the back of the block to ensure the whole thing stays flat. Whether you print by hand with a baren, or use oil based inks with a roller and run it through a press, a curling lino block is a devil to handle!
Good luck and keep experimenting.
Message 4
From: cucamongie # aol.com
Date: Wed, 13 Jan 2010 15:42:40 GMT
Subject: [Baren 40396] for NYC folks, Sarah Hauser's work in Big Paper Winter exhibition, Woodward Gall
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Hi folks, I am very pleased to have two strappo monotypes (acrylic painted
onto glass in many layers, then transferred to paper) included in the
following exhibition. The opening is this Saturday night. I am pleased to be
in such wonderful company, as listed below.
best wishes and happy new year, Sarah
Following are all the details:
Big Paper Winter
Woodward Gallery
January 16 - February 27, 2010
9th Annual exhibition of works on paper, including originals and prints by
Jean-Michel Basquiat, Hugo Bastidas, Rick Begneaud, Norman Bluhm, Susan
Breen, Alexander Calder, Deborah Claxton, Darkcloud, Willem de Kooning, John
Evans, Sam Francis, Sybil Gibson, Red Grooms, Richard Haas, Richard
Hambleton, Keith Haring, Sarah Hauser, Sonne Hernandez, Hiro Ichikawa, Robert
Indiana, Paul Jenkins, Alex Katz, R.B. Kitaj, Franz Kline, Roy Lichtenstein,
Mark Mastroianni, Craig McPherson, Richard Merkin, Ander Mikalson, Philip
Pavia, Jaggu Prasad, Robert Rauschenberg, Ad Reinhardt, James Rosenquist, Mel
Ramos, Larry Rivers, Matt Siren, Frank Stella, Jo Ellen Van Ouwerkerk, Andy
Warhol
Please join us for the opening reception Saturday, January 16, 2010,
6-8pm.
Woodward Gallery
133 Eldridge Street
New York, NY 10002
T: 212.966.3411
F: 212.966.3491
Email:_ art@woodwardgallery.net_ (mailto:art@woodwardgallery.net)
Website: _ http://woodwardgallery.net_ (http://woodwardgallery.net/)
Hours of Operation:
Tuesday-Saturday: 11:00 am - 6:00 pm
Sunday: 12:00 pm - 5:00 pm
and by appointment
Directions:
Woodward Gallery is located on Manhattan's Lower East Side between Broome
and Delancey Streets
Subways: Take the B or D to Grand St or
the F, J, M, or Z to Delancey/Essex
Bus: M15 to the corner of Allen and Delancey
Message 5
From: cucamongie # aol.com
Date: Wed, 13 Jan 2010 16:01:28 GMT
Subject: [Baren 40397] ps re Takahashi print
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sorry about multiple posts, but wanted to add that the size of the
Takahashi print is 10.5 " x 8.5" -
Sarah
Takahashi print is 10.5 " x 8.5" -
Sarah
Message 6
From: cjchapel # casco.net
Date: Wed, 13 Jan 2010 17:21:48 GMT
Subject: [Baren 40398] Re: Arts and Crafts/Chicago Art Institute
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Sharen, thank you for posting the link to the Chicago show. http://
www.artic.edu/aic/collections/exhibitions/ApostlesBeauty/resource/931
I watched the video by the curator. Just a terrific way to start my day.
C. Chapel
www.artic.edu/aic/collections/exhibitions/ApostlesBeauty/resource/931
I watched the video by the curator. Just a terrific way to start my day.
C. Chapel
Message 7
From: Lee Churchill
Date: Wed, 13 Jan 2010 18:21:11 GMT
Subject: [Baren 40399] Print Database
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Since we are talking about prints in general you might like to check out this website from my work -
http://www.glenbow.org/impress/
For moku hangu content do a "Collection search" on Walter Phillips, we have his prints as well as pictures of his cherry blocks (just open the tab on printmaking materials)
I hope you enjoy!
Lee
http://www.glenbow.org/impress/
For moku hangu content do a "Collection search" on Walter Phillips, we have his prints as well as pictures of his cherry blocks (just open the tab on printmaking materials)
I hope you enjoy!
Lee
Message 8
From: reneeaugrin # aol.com
Date: Wed, 13 Jan 2010 18:37:04 GMT
Subject: [Baren 40400] Re: Arts and Crafts/Chicago Art Institute
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Thank you for posting the link to the Chicago show. You lucky Chicagoans! So good to see after all the shared sites of the Arts and Crafts woodblock prints.
I am working on Exchange 44, I know it seems early, but oily ink is slow to dry and I wish to be sure they are ready in time, I am on the second layer of color. I hope some of the arts and craft sensibility rubs off on my work.
I have started a series of prints and posting on my blog if you wish to follow along: miravistastudioarts.blogspot.com
Happy New Year to you all,
Renee Ugrin
rainy, windy Oregon
Message 9
From: "Oscar Bearinger"
Date: Wed, 13 Jan 2010 20:31:06 GMT
Subject: [Baren 40401] Re: Print Database
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This is a great database of prints. I especially like seeing the cherry blocks of Walter Philips.
http://www.glenbow.org/impress/
Thanks very much, Lee.
Oscar
http://www.glenbow.org/impress/
Thanks very much, Lee.
Oscar
Message 10
From: Charles Morgan
Date: Wed, 13 Jan 2010 23:01:24 GMT
Subject: [Baren 40402] New Years card return
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My new years card for Annie Bissett has been returned by the post office.
Annie, if you are still on the forum, please email me off list with your snail mail address.
If anyone else has a current address for her, please send it to me off list.
Cheers ...... Charles
Annie, if you are still on the forum, please email me off list with your snail mail address.
If anyone else has a current address for her, please send it to me off list.
Cheers ...... Charles
Message 11
From: "Mark Mason"
Date: Wed, 13 Jan 2010 23:12:58 GMT
Subject: [Baren 40403] Re: 20th Century Woodblock Prints
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Quote:
Many of these beauties look like watercolors. Why create such labor
intensive work and have it look like a watercolor?
Unquote.
I agree with Clive's comments regarding colour reproduction costs at the
time, but I also think there were other, perhaps more artistic and
democratic, thoughts in the air around the turn of the century.
In the UK the aesthetics of the Arts and Crafts Movement were very strong,
and similar movements were around in Europe and the US.
(NOTE: ARTS and CRAFTS. They were part of the same package. A lot of
'artists' have forgotten that.)
There was a desire to create beautiful things that could be within the reach
of most people's wallets. Colour woodblock prints were viewed as a way to
create beautiful, 'original' art at an affordable price. ('Original' in
terms of originated by the artist's hand rather than by a machine.)
It was a little idealistic, as the man hours involved in producing enough of
these lovely prints for the broad market meant that the enterprise was
relatively shortlived. By the 1930's the original wave of new Arts and
Crafts prints was coming to an end, with only a handful of artists
continuing to produce prints. Artist's who held to the principles of the
Arts and Crafts movement believed in doing all the stages of making a print.
Shipping a design out to block carvers and printers was frowned upon.
Many of these print artists were very popular in their day, but have been
all but forgotten now by most of the art world.
I don't have a problem with the prints looking like watercolours. What
talented artists these people were to be able to echo the fluid nature of a
watercolour painting with blocks of carved wood. They were providing the art
that people wanted at that time, but they were also producing woodblocks
prints that were based on their artistic heritage and tradition. To create a
distinctly Western artform from the combined disciplines of watercolour
painting and Japanese woodblock printing is surely something to be admired.
Nothing like this had happened before. The public were used to seeing black
and white woodcut, etchings and engravings (sometimes hand coloured).
Interesting, but colourless, then along come some Japanese prints at various
Exhibitions (and used as wrapping paper for pottery), full of vibrant,
intoxicating colour. It was no wonder that some artists in the UK, EU and US
were knocked sideways by what they saw, and sought to look at their world
through colour saturated woodblock spectacles. Frank Morley Fletcher was
one of the pioneers who started the interest in woodblock printmaking with
the publication of his book in 1916, though I believe he was inspired by
the work of another artist who he saw producing a print. In turn, he
inspired people like Allen Seaby, Walter Phillips and others. There was also
a Japanese woodblock printmaker who spent time in the UK at the turn of the
century who demonstrated and taught the techniques, I think his name began
with 'U' and needs to be fully researched and credited for his contribution.
There's a nice photo of Morley Fletcher on Wikipedia, along with a really
poor written entry.
http://en.wikipedia.org/wiki/Frank_Morley-Fletcher
I personally don't mind if a woodblock print shows wood grain or not, or
whether it looks like a 'print' or a watercolour. It all depends on the
image and the style.
You can't deny that the windswept and rainy skies in some of those prints
are beautiful, atmospheric and technically stunning.
Many of these beauties look like watercolors. Why create such labor
intensive work and have it look like a watercolor?
Unquote.
I agree with Clive's comments regarding colour reproduction costs at the
time, but I also think there were other, perhaps more artistic and
democratic, thoughts in the air around the turn of the century.
In the UK the aesthetics of the Arts and Crafts Movement were very strong,
and similar movements were around in Europe and the US.
(NOTE: ARTS and CRAFTS. They were part of the same package. A lot of
'artists' have forgotten that.)
There was a desire to create beautiful things that could be within the reach
of most people's wallets. Colour woodblock prints were viewed as a way to
create beautiful, 'original' art at an affordable price. ('Original' in
terms of originated by the artist's hand rather than by a machine.)
It was a little idealistic, as the man hours involved in producing enough of
these lovely prints for the broad market meant that the enterprise was
relatively shortlived. By the 1930's the original wave of new Arts and
Crafts prints was coming to an end, with only a handful of artists
continuing to produce prints. Artist's who held to the principles of the
Arts and Crafts movement believed in doing all the stages of making a print.
Shipping a design out to block carvers and printers was frowned upon.
Many of these print artists were very popular in their day, but have been
all but forgotten now by most of the art world.
I don't have a problem with the prints looking like watercolours. What
talented artists these people were to be able to echo the fluid nature of a
watercolour painting with blocks of carved wood. They were providing the art
that people wanted at that time, but they were also producing woodblocks
prints that were based on their artistic heritage and tradition. To create a
distinctly Western artform from the combined disciplines of watercolour
painting and Japanese woodblock printing is surely something to be admired.
Nothing like this had happened before. The public were used to seeing black
and white woodcut, etchings and engravings (sometimes hand coloured).
Interesting, but colourless, then along come some Japanese prints at various
Exhibitions (and used as wrapping paper for pottery), full of vibrant,
intoxicating colour. It was no wonder that some artists in the UK, EU and US
were knocked sideways by what they saw, and sought to look at their world
through colour saturated woodblock spectacles. Frank Morley Fletcher was
one of the pioneers who started the interest in woodblock printmaking with
the publication of his book in 1916, though I believe he was inspired by
the work of another artist who he saw producing a print. In turn, he
inspired people like Allen Seaby, Walter Phillips and others. There was also
a Japanese woodblock printmaker who spent time in the UK at the turn of the
century who demonstrated and taught the techniques, I think his name began
with 'U' and needs to be fully researched and credited for his contribution.
There's a nice photo of Morley Fletcher on Wikipedia, along with a really
poor written entry.
http://en.wikipedia.org/wiki/Frank_Morley-Fletcher
I personally don't mind if a woodblock print shows wood grain or not, or
whether it looks like a 'print' or a watercolour. It all depends on the
image and the style.
You can't deny that the windswept and rainy skies in some of those prints
are beautiful, atmospheric and technically stunning.