Contemporary, Landscapes, New Additions, Prints, woodblock print

New Additions: Matt Brown Color Woodcuts

NEW ADDITIONS banner

NEW ADDITIONSContemporary printmaker Matt Brown dropped off more prints at The Old Print Gallery last week, and we are very excited by his new work. Brown works in the traditional Japanese hanga method to create his stunning color landscapes- cutting and inkingĀ a different block for each color used in his prints.

“I love the process of making these prints: the way pictorial simplicity is encouraged, the way an image is separated into parts and put back together, the way the translucent colors blend and juxtapose, the way the wood interacts with the paper.”- Matt Brown

Below Mt. Pemigewasset. Matt Brown. Color woodblock print, 2012. Edition 300. Second state. Image size 16 3/4 x 7 inches.

Below Mt. Pemigewasset. Matt Brown. Color woodblock print, 2012. Edition 300. Second state. Image size 16 3/4 x 7 inches.

Pemaquid from Little Thumcap. Color woodblock print, 2013. Edition 300. Image size 6 3/4 x 16 1/2 inches.

Pemaquid from Little Thumcap. Color woodblock print, 2013. Edition 300. Image size 6 3/4 x 16 1/2 inches.

Kearsarge from Eagle Pond. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 16 1/2 x 7 inches.

Kearsarge from Eagle Pond. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 16 1/2 x 7 inches.

Waves on Little Thrumcap. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 7 x 16 5/8 inches.

Waves on Little Thrumcap. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 7 x 16 5/8 inches.

December Afternoon - Stowe, Vt. Matt Brown. Color woodblock print, 2012. Edition 300. Image size 7 x 16 1/8 inches.

December Afternoon – Stowe, Vt. Matt Brown. Color woodblock print, 2012. Edition 300. Image size 7 x 16 1/8 inches.

Evening at Lake Winnipesaukee. Color woodblock print, 2014. Edition 300. Image size 16 1/2 x 7 inches.

Evening at Lake Winnipesaukee. Color woodblock print, 2014. Edition 300. Image size 16 1/2 x 7 inches.

Mt. Washington from Little Haystack. Matt Brown. Color woodcut print, 2014. Edition 300. 15 7/8 x 7 inches.

Mt. Washington from Little Haystack. Matt Brown. Color woodcut print, 2014. Edition 300. 15 7/8 x 7 inches.

Sunlight and Squam Lake. Matt Brown. Color woodcut print, 2015. Edition 300. Image size 16 1/8 x 7 inches.

Sunlight and Squam Lake. Matt Brown. Color woodcut print, 2015. Edition 300. Image size 16 1/8 x 7 inches.

Advertisements
Standard
Citiscapes, Color etching, Drypoint, Early 20th Century, Etching, Landscapes, Multi-plate etching, Prints

Charles Mielatz

Scene of Cows and an Old Well in a Pasture. Charles Mielatz. Etching, 1911. LINK.

Scene of Cows and an Old Well in a Pasture. Charles Mielatz. Etching, 1911. LINK.

Charles Frederick William Mielatz was born in Bredding, Germany in 1864. He arrived in this country as a young boy and studied at the Chicago School of Design. Mostly self-taught, his first prints were large New England landscapes reminiscent of the painter-etcher school of American art. In 1889, he was invited by the Iconofiles Society to produce a print of Wall Street. He fell in love with the urban landscape and for the rest of his life, Mielatz created urban imagery.

Porch of the Old Customs House (Wall Street). Charles Mielatz. Etching, 1909. LINK.

Porch of the Old Customs House (Wall Street). Charles Mielatz. Etching, 1909. LINK.

Mielatz was a master technician in the field of etching, reworking many of his plates numerous times to precisely master the feeling and composition he was seeking in his images. It is not unusual for him to have many states of each print. He was also one of the early pioneers of multi-plate color etchings in this country. Although the process dates back to the eighteenth-century, for most of the nineteenth-century it was not used. It is thought that the color prints of Mary Cassatt could have influenced him.

Spingler-Van Beuren - The Covered Porch. Charles Mielatz. Color etching, 1913. LINK.

Spingler-Van Beuren – The Covered Porch. Charles Mielatz. Color etching, 1913. LINK.

The Door of St. Bartholomew's. Charles Mielatz.  Three-plate color etching, 1909. LINK.

The Door of St. Bartholomew’s. Charles Mielatz. Three-plate color etching, 1909. LINK.

Although there is no hard documentation that he influenced other artists active in New York City, his choice of etching style is remarkably similar to the drypoints that Martin Lewis produced in the late 1920’s, and his choice of subject matter is not dissimilar to that of John Sloan, who started producing etchings of NYC by 1905.

Old Spar Yard, South Street. Charles Mielatz. Etching, roulette, and sandpaper, undated. LINK.

Old Spar Yard, South Street. Charles Mielatz. Etching, roulette, and sandpaper, undated. LINK.

Charles Mielatz was a member of the New York Etching Club, the Brooklyn Society of Etchers, and was an associate member of the National Academy of Design. In 1906, he succeeded James David Smillie as the etching teacher at the National Academy, a position he held until his death on June 2, 1919.

The Jumel Mansion. Charles Mielatz. Etching, 1906. LINK.

The Jumel Mansion. Charles Mielatz. Etching, 1906. LINK.

Edgar Street (The Shortest Street in New York City). Charles Mielatz. Etching, 1910. LINK.

Edgar Street (The Shortest Street in New York City). Charles Mielatz. Etching, 1910. LINK.

Ericsson's Day No.1. Charles Mielatz. Drypoint, 1914. LINK.

Ericsson’s Day No.1. Charles Mielatz. Drypoint, 1914. LINK.

Standard