Showing posts with label printmaking. Show all posts
Showing posts with label printmaking. Show all posts

Sunday, February 5, 2012

Figuring it out...

What is more natural after spending a month drawing faces than to graduate to drawing whole bodies? So that's my challenge for this month. And it does seem a bit of a challenge, I must say. I really enjoyed the rather limited nature of a face drawing. I mean basically a few features, some hair (or not) on top and voila. You have yourself an image. Whole bodies, of course, present not only the greater challenge of getting all the disparate parts into a proper scale, dealing with fussy bits like hands (not so hard) and feet (harder for me) but then there is the whole issue of clothing, folds, wrinkles and all the complicated shadows they create. I mostly did simple line drawings in pen and ink this week. I worked much more slowly and more fiddlely than on the faces. It was difficult for me to allow myself to be abstract or loose. I'm beginning to believe that it's just not really me, as much as I like the liberty some of my favorite illustrator's take in proportion and placement. I myself find so much pleasure in trying to get the shapes and relationships true to the original. Which for me, by the way, are photographs taken from newspapers or magazines. I have an ever-growing collection. (Rick has to hide newspapers from me when he hasn't finished reading them as I tear out images I like without mercy.) I also like drawing from historical oil paintings. My art teachers always maintained that one should copy the masters throughout one's career as a very good exercise in discovering ways of visually interpreting form. I still find drawing to be a kind of meditation.

Following are samples of images from each day. The entire collection can be viewed here, although I really tossed away as many drawings as I saved.

















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I have been spending a little less time etching these days, but that is mostly because our friend Georges is using the studio quite often to prepare for his show in Paris in April. I have had the opportunity to develop a couple of images for larger plates. The first is this one called Under the Big Top.


The second is called Lunch in a Paris Café. I haven't had the opportunity to experiment too much with colors, chine collé or other ways of printing these up, but I hope to have the time and space for that in the next couple of weeks.


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My printmaking friend Mariann Ellis (who by the way has just put up another wonderful video printmaking tutorial--she is very generous with her free instructions!) sent me this cute little book in the mail entitled From Colorado to the World and Back Again. It was initiated by Jill Bergman. She has sent out several little books like this (they are about 2 X 4") and asks that printmakers from around the world contribute a little print to put inside and then send it on to someone else. I have added my image of Girl with Cat and would now like to send it to another printmaker who would like to put any kind of print or stamp inside. If you are interested, please let me know, send me your address and I will mail it off to you right away, wherever you are in this wide world.



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It's been terribly cold in our corner of the world. Extreme weather seems to be the new normal.



We started the week out with a dusting of snow which quickly melted once the sun came up.


But we've ended the week with a real blizzard. In the space of just a few hours we are virtually snowbound.


To keep our weekend client warm and toasty, we set up her breakfas by our big fireplace downstairs.


Even with the cold, days have often been bright and crispy blue. Here the sun shines through the studio curtains.


Thursday, May 28, 2009

Art Work at Maison Conti


One thing I really enjoy about living in a big old house is that there is lots of wall space. Since I'm a printmaker, I have been collecting prints for many years. My husband as well happens to have inherited several really fine prints. At Maison Conti we have on display some lovely prints and a painting or two.

Normally different people who stay with us notice different things. Someone might notice that the coffee is particularly good (we grind it fresh every morning); often people will remark on the fresh fruit or fresh-squeezed orange juice we serve for breakfast and several people have praised the china we use in the morning. (It has hand-painted designs by a French botanical artist). Few people, however, notice the art work. There have been two artists who have stayed with us who did comment on our collection. It always gives me a great deal of pleasure when someone enjoys our art collection, as I really love the pieces we have gathered. None of the prints have very high value, but they are all excellent works.

The photos I've posted here are my favorites from our collection. The first is a Marc Chagall printed in 1959. It is unsigned, but does have a certificate of authenticity which came with it when I bought it from a gallery on the rue de Seine in the summer of 2000. I spent that summer living in Paris and every day I walked past this lithograph which hung in the window. The illustration is of Ruth the Gleaner and Chagall did a series of illustrations for the bible, this being one of those. There has been a lot of abuse of Chagall's prints since his death, since he did not destroy his plates. There have been unauthorized impressions made from his plates and sold as originals. I was told he supervised this particular impression, but of course I can't be sure.

 The next is a gorgeous etching by Whistler. The family story goes that Rick's grandfather met the father of James Whistler while they were working together in Russia on the railway system. Whistler's father was selling prints from his poverty-stricken son and Rick's grandfather purchased several. All the grandchildren in Rick's family received two etchings a piece, The one I've photographed here is called "The Kitchen" and was made in 1885, presumably by Whistler's own hands. If you want to see a wonderful photo of him with his etching press, visit this link.

The next two prints, a poster advertising the Musée Grévin (still open on the Boulevard Montmartre in Paris) and the cover of a magazine L'Escarmouche (the skirmish) were purchased in Paris in the summer of 1999 at a very wonderful gallery in Le Marais. These are likely reproductions of the original Lithographs, and at the time they were printed, in the late 19th century, they had no value. They were simply publicity. People saved these things over the years and now they are collectable. I find them both very charming and evocative of that era when Paris really was the center of culture.

The mermaid print, entitled "The Echoing Shore" is an original wood block print made by John Edgar Platt in 1931. He was an Englishman who studied traditional Japanese wood block printmaking (known as moku hanga) in Japan. He became a real master of this very demanding technique and created many western images using the Eastern method.

 Another exquisite wood block print in our collection is "Hummingbird and Fushia" by the very talented Japanese artist, Toshi Yoshida, who spent some time in Mendocino, California where he created this work in 1971. I bought the print in California in the early 90s. Mr. Yoshida died in 1995.

Another treasure Rick inherited were a group of Albrecht Dürer prints. This botanical is one of several we have framed in our entry. It is obviously a reproduction, but a really excellent one and it is already almost 75 years old.

 The last piece is one I really adore. It is not easily photographed as it is quite shiny with varnish. I hope to be able to learn how to clean an old oil painting one of these days. This one is by an unknown artist. The painting is signed, but indecipherable. Certainly the artist was no one of note. But the painting was created in the 19th century and oozes charm. The subject is "Dejeuner sur l'Herbe" which was a required subject matter during the student days of those times. This one has an original take. I found this painting on ebay.fr when I was decorating our house. I was very pleased with the find! And it was not at all expensive. It seems that in France people have things like this in their houses which have come down to them through the generations.

Wednesday, April 29, 2009

Our Studio Opens

June will mark the first anniversary of the opening of our Bed & Breakfast in Montmirail, France www.maisonconti.com One of the main reasons we bought Maison Conti in 2007 was that it had enough space for a really wonderful atelier (French for studio). We have a press room a separate art room and a room for the aquatint box, acid baths and drying rack. It's a very generous space. The entire first year we were here was devoted to putting in bathrooms, redecorating and generally getting the house ready to launch our business. I rarely had the chance to get into my printmaking studio! Then when we opened our doors in June, 2008, a great deal of time was taken up with learning the ropes of our new enterprise. I felt so much frustration to have that beautiful studio and to be unable to spend the time I wanted to in there! During the winter months we had the time and inclination to get our hands inky, crank our great old press and create some work to put into our boutique. Our grand opening will be on June 6th when a group from a local hiking club will swing by the studio and have the opportunity to take a look at what we're doing. We're scurrying around putting paint on walls, organizing cupboards and placing our cards and prints in baskets. In the meantime we are also opening our on-line boutique, which will offer cards and prints for sale at very reasonable prices. We are especially excited about our ability to turn photos into art prints. There's something so warm and wonderful about a cherished image printed on handmade cotton paper. These prints make fabulous wedding presents or birth announcements. In fact any fond memory can be the perfect image for one of these beautiful prints.