Aquatint, Color etching, Etching, Multi-plate etching, Prints

Chaim Koppelman on Printmaking

Figure at Table.  Chaim Koppelman. Etching, 1946. Edition 30. LINK.

Figure at Table. Chaim Koppelman. Etching, 1946. Edition 30. LINK.

“Printmaking has the prerequisites for exact criticism. It is incisive, neat, doesn’t spill over, makes its point graphically. Like all people, I am critical; because I hope to be beautifully so, I am a printmaker. For me, printmaking honors, because it criticizes, a world that is vague, vapid, gray, indecisive, boring, wandering, wavering, hovering, in-between, hiding, teasing, fence-sitting, dim, paradoxical, political, fuzzy, shifting, shiftless, infinite, two-faced, uncommitted. Such a world is our very selves. The print is a trumpet call for definition, conviction, taking a stand. When I take the etching needle in my hand the shifting becomes fixed, the in-between definite, the dim clear, the hidden seen, the teasing full-throated. ” – Chaim Koppelman

By the Skin of Our Teeth. Chaim Koppelman. Etching and aquatint, 1962. Edition 30. LINK.

By the Skin of Our Teeth. Chaim Koppelman. Etching and aquatint, 1962. Edition 30. LINK.

In the Workshop. By Chaim Koppelman. Etching and aquatint, 1966. Edition 25. LINK.

In the Workshop. By Chaim Koppelman. Etching and aquatint, 1966. Edition 25. LINK.

On Meeting Beauty II. Chaim Koppelman. Aquatint, 1958. Edition 200. A/P. LINK.

On Meeting Beauty II. Chaim Koppelman. Aquatint, 1958. Edition 200. A/P. LINK.

The Subway. Chaim Koppelman. Soft ground etching, 1962. Edition 30. LINK.

The Subway. Chaim Koppelman. Soft ground etching, 1962. Edition 30. LINK.

Sad Figure. Chaim Koppelman. Etching, 1956. Edition 50. LINK.

Sad Figure. Chaim Koppelman. Etching, 1956. Edition 50. LINK.

Crazy Steer. Chaim Koppelman. Two plate color etching and aquatint, 1965. Edition 30. LINK.

Crazy Steer. Chaim Koppelman. Two plate color etching and aquatint, 1965. Edition 30. LINK.

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Aquatint, Contemporary, Early 20th Century, Etching, Gallery Opening Receptions, Gallery Openings, Gallery Updates, Prints

Tonal Array: Aquatints from the 20th and 21st Century

Beyond the Silence (3) by Takamune Ishiguro. Aquatint, 2008. Image size 23 5/8 x 23 5/8" (600 x 601 mm). Edition 5. Signed, titled, and dated in pencil. LINK.

Beyond the Silence (3) by Takamune Ishiguro. Aquatint, 2008. Image size 23 5/8 x 23 5/8″ (600 x 601 mm). Edition 5. Signed, titled, and dated in pencil.

We are very excited to announce our new upcoming show, Tonal Array: Aquatints from the 20th and 21st Century, which will open on Friday, February 20, 2015 with an opening reception from 5-7 pm at the gallery. The show will continue until April 11, 2015.

Aquatint is an etching technique that creates areas of tone through the use of a powdered or ground resin that is sprinkled on a metal plate prior to being bitten by etching acid. Although primarily used in the 18th and 19th centuries as a medium to reproduce the delicate fluidity and transparency of watercolors and paintings, the aquatint survived as an artist’s medium because of its atmospheric effects and flat wash properties. Tonal Array draws attention to the talented printmakers of the 20th and 21st century who experimented and pushed the boundaries of aquatint’s potential. Varying between flat color planes and incredible plate texture, as well as dramatic areas of light and dark, these artists demonstrate a fluid and experimental handling of the medium. The resulting images have an expressive strength and visual intensity that relays the ingenuity to be found in the world of original printmaking.

Selected Artists: Linda Adato, John Taylor Arms, Letterio Calapai, Frank Cassara, Joseph Essig, Eric Goldberg, Takamune Ishiguro, Chaim Koppelman, Richard Lubell, Mary Manusos, Frederick Mershimer, Charles F. Mielatz, Jake Muirhead, Merle Perlmutter, Gerald Scheck, Ellen Nathan Singer, Richard Sloat, Mayumi Takagi, and Henry Ziegler.

Check back soon for more information about the show, about the rich history of aquatints, as well as more show images!

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