Line and Tone -- the Linear System
Networks of line were the first strategy used by artists to get from the black-white opposition of the print media to represent the shades of gray in the actual world. |
26. Albrecht Dürer, German, 1471 – 1528
St. Eustace, circa 1501
engraving
plate: 35.3 x 25.9 cm (13-15/16 x 10-1/4 in.)
Gift of Commander and Mrs. L. E. Stahl in memory of Charles Kistler, 64.26.2
|
|
27. Lucas van Leyden, Dutch, circa 1490 – 1533
David Playing the Harp before Saul, circa 1508
engraving
plate: 25.3 x 18.3 cm (10 x 7-1/4 in.)
The William A. Whitaker Foundation Art Fund, 92.27
|
|
28. Raphael, Italian, 1483 – 1520, probable designer
Marcantonio Raimondi, Italian, 1480 – 1534, engraver
Two Women with the Signs of Libra and Scorpio, circa 1517/20
engraving
sheet: 29.2 x 20.3 cm (11-1/2 x 8 in.)
Ackland Fund, 81.28.1
|
|
29. Peter Paul Rubens, Flemish, 1577 – 1640, painter
Schelte Adams Bolswert, Flemish, 1586 – 1659, engraver
Landscape with a Rainbow, 1633
engraving
plate: 33.5 x 45.1 cm (13-3/16 x 17-3/4 in.)
Burton Emmett Collection, 58.1.135
|
|
30. Rembrandt van Rijn, Dutch, 1606 – 1669
The Goldsmith Jan Lutma, 1656
etching, drypoint, and engraving
plate: 19.4 x 15.0 cm (7-5/8 x 5-7/8 in.)
The William A. Whitaker Foundation Art Fund, 85.36.1
|
|
Getting Past the System: Layers and Screens
Alternative methods for introducing shades of gray -- and tones of color.
(Top of the page)
|
31. Hendrick Goltzius, Dutch, 1558 – 1617
Proserpina, 1598/1600
chiaroscuro woodcut
image: 34.6 x 25.6 cm (13-10/16 x 10-1/16 in.)
Burton Emmett Collection, 58.1.196
|
|
32. Karel Dujardin, Dutch, 1622 – 1678, painter
Jan van Somer, Dutch, 1645 – after 1699, engraver
The Storyteller
mezzotint
plate: 28.7 x 33 cm (11-5/16 x 13 in.)
Ackland Fund, selected by The Ackland Associates, 91.80
|
|
33. Paul Sandby, British, 1725 – 1809
The Entrance of Warwick Castle from the Lower Court, 1776
aquatint
plate: 34.3 x 47.8 cm (13-1/2 x 18-13/16 in.)
The William A. Whitaker Foundation Art Fund, 80.46.2
|
|
34. Edouard Manet, French, 1832 – 1883
The Barricade, early 1870s
lithograph
image: 46.7 x 33.3 cm (18-3/8 x 13-1/8)
The William A. Whitaker Foundation Art Fund, 90.22
|
|
35. Unknown, American or German, 19th century
Still Life, circa 1880
chromolithograph
sheet: 50.8 x 71.1 cm (20 x 27-15/16 in.)
Gift of Nancy J. Howe, 2004.16
|
|
36. Gerhard Richter, German, born 1932
Hannover, 1967
offset photolithograph
composition: 47.8 x 58.6 cm (18-13/16 x 23-1/16 in.)
Ackland Fund, 2001.3.2
|
|
37. Edward Ruscha, American, born 1937
Vanish, 1972
color lithograph
sheet: 51.0 x 71.0 cm (20-1/16 x 27-15/16 in.)
Ackland Fund, 77.63.1
|
|
38. Robert Cottingham, American, born 1937
Fox, 1973
lithograph
image: 53.2 x 53.5 cm (20-15/16 x 21-1/16 in.)
Ackland Fund, 75.2.2
|
|
Representation of Drawing: from Knife to Camera
Three prints showing how the mode of black-and-white line survived the introduction of photomechanical methods of printmaking.
(Top of the page)
|
39. Albrecht Dürer, German, 1471 – 1528
Christ Bearing the Cross, 1498/99
woodcut
sheet: 39.2 x 27.9 cm (15-7/16 x 11 in.)
Burton Emmett Collection, 58.1.222
|
|
40. Gustave Doré, French, 1832 – 1883, designer
Octave Jahyer, French, born 1826, block-cutter
Death Can Do Nothing to Me I See That Plainly, from The Legend of the Wandering Jew, 1857
wood engraving
image: 40.5 x 31.1 cm (15-15/16 x 12-1/4 in.)
Transferred from the Joseph C. Sloane Art Library, 99.25.214
|
|
41. Aubrey Beardsley, British, 1872 – 1898
The Peacock Skirt, from Illustrations to Salome, 1893 [probably printed 1907]
photomechanical line block print
image: 22.9 x 16.4 cm (9 x 6-7/16 in.)
Lent by Sloane Art Library, L1998.75.2.5
|
|
Representation of Drawing: Look vs. Feeling
Within the family of artistic media, print and drawing are the closest relatives. These prints show the effort to make the relationship as close as possible, either by having prints imitate the visual appearance of drawings or by giving the artist the opportunity to make a print simply by drawing.
(Top of the page)
|
42. Simone Cantarini, Italian, 1612 – 1648
St. Anthony of Padua, 1639
etching
image: 25.2 x 17.3 cm (9-15/16 x 6-13/16 in.)
The William A. Whitaker Foundation Art Fund, 2002.22.3
|
|
43. Hendrik Goltzius, Dutch, 1558 – 1617, designer
Cornelis Ploos van Amstel, Dutch, 1726 – 1798, director and publisher
Johannes Kornlein, Dutch School, born in Germany, died 1772, engraver
Maria Tesselschade (supposed portrait), 1770
color crayon-manner print
sheet: 26.8 x 21.7 cm. (8-10/16 x 10-9/16 in.)
Ackland Fund, 85.4.3
|
|
44. Henri Matisse, French, 1869 – 1954
Bedouin Woman in a Veil (Bedouine au Grand Voile), 1947
aquatint
plate: 32.1 x 25.1cm (12-5/8 x 9-7/8 in.)
Ackland Fund, 86.43
|
|
45. Claes Oldenburg, American, born in Sweden, 1929
Apple Core, 1991
lithograph
sheet: 80.0 x 57.6 cm (31-1/2 x 22-11/16 in.)
Ackland Fund, selected by The Ackland Associates, 94.10
|
|
Reference Without Representation
These two prints show artists alluding to work in other media without representing it in any literal way.
(Top of the page)
|
46. Pablo Picasso, Spanish, 1881 – 1973
Luncheon on the Grass, 1961
linoleum cut
image: 53.0 x 75.2 cm (20-7/8 x 29-5/8 in.)
Given by Brenda and Evan Turner in honor of John E. Larson, Esq., 79.76.1
|
|
47. Martin Puryear, American, born 1941
Three Holes, 2002
etching with spitbite and aquatint, on mounted Gampi tissue
plate: 45.1 x 60.0 cm (17-3/4 x 23-5/8 in.)
Ackland Fund, 2003.9
|
|
