THE FINE ART OF ORIGINAL PRINT
COLLECTING
An original print?
Etching, woodcut, linocut, lithograph – and the names of artists such as Rembrandt,
Goya, Picasso or Warhol. To say nothing of the many artists working in the field of
printmaking in the Washington today.
An original print collector?
Anyone who buys a print becomes a collector by that very act. Printmaking, along with
painting and sculpture, is a major art form. For those interested in collecting prints, it
is an exciting adventure to become familiar with the distinguishing characteristics of the
different techniques - woodcut, etching, screenprint, lithography etc
Print collecting can be regarded more as a pleasure than
a means of acquiring a fortune (although it is true to say if a
genuine interest develops, a valuable archive may result). The real worth of the activity
of print collecting is in the experience itself. Artists working in printmaking are able
to produce more than one original copy of an image, and this enables print collecting to
become a passion in which almost anyone with an income can indulge
What distinguishes a print from, say, a painting,
is that the artist creates an image on a surface (known as a matrix), perhaps of wood,
metal or stone (see printmaking methods below). The matrix is inked, and passed through
the printing press, transferring the image to paper. The artist determines the edition,
which is the number of prints to be made of the image. The edition can be as small as 2 or
as large as 250, but each print is produced from the original woodblock, screen or metal
matrix originated by the artist. (Fine art prints are emphatically not
the reproductions of works of art
erroneously called ‘prints’, which are often mechanical copies of, perhaps, a
painting - or indeed a print - in which the artist has no creative input.)The more commonly known printmaking methods
are as follows:
Silkscreen or Serigraph. The
surface on which the artist works is a silk screen. Ink is forced through the mesh of
stretched fabric, areas of which have been blocked out with a filler, so that the open
mesh of the fabric constitutes the image. Paper is placed beneath the screen and ink is
pushed through the mesh onto the paper The process allows for many layers of color to be
transferred to the paper – a different screen is used for each color. It is often
used in conjunction with photographic imagery - see the work of Warhol.
Etching. Etching was first used by
artists such as Durer in the early sixteenth century. See also the work of Rembrandt and
Picasso. Etching is an ‘intaglio’ process, which means that the lines and tonal
areas of the image lie below the surface of a metal plate. The matrix is a metal plate,
covered with an acid-resistant wax coating. The artist draws into the prepared plate,
which is then immersed in acid. The acid ‘bites’ into the metal so when ink is
applied to the plate, it remains in the incised lines. Excess ink is wiped away, the plate
is covered with paper and passed through the printing press. The pressure transfers the
inked image to the paper. Multi-colored etchings require a separate plate for each color.
Drypoint. Again the matrix is a
metal plate. In this case the artist works into the plate with a sharp metal needle. The
needle is drawn with pressure directly across the metal plate, which raises a burr on
either side of the incised line. It is not the incised line, but the burr which holds the
ink. The plate is inked and printed in the same way as an etching. This is a very direct
and expressive way of working. See the work of Whistler and the German Expressionists.
Woodcut. As the name implies, the
matrix is wood, and the artist gouges out the image with tools. The wood is inked, and
either had rubbed with a spoon or baren, or passed through the printing press to print.
Different wood surfaces are needed for each color in multi-colored prints. Again, this is
a very direct method of working and was passionately used by the German Expressionists
Linocut. The way of working is very
similar to that of the woodcut, but with a surface of linoleum. Acid can also be used to
create the image. Picasso produced a large body of linocuts.
Lithograph. The surface used in
lithography is either German limestone or a prepared metal lithographic plate. A greasy
material is used to draw (or paint) the image onto the matrix, and the subsequent chemical
process is based on the principle that grease and water do not mix.. The surface is
chemically treated (etched) to ensure the image areas attract ink and the
non-image areas repel ink. During the printing process the matrix is kept damp as ink is
rolled over its surface. The mixture of drawn and painterly processes in lithography
allows for a great deal of freedom in creating the image.
There is also an increasing use of computer technology
and laser printing in printmaking, which can be used in conjunction with any of the above
processes. Artists often incorporate more than one of the printmaking processes to create
an image. The puzzle lies in figuring out the methods used!
It is thanks to the process of editioning in printmaking that works
of art by both the historically renowned and the contemporary artist are available to the
print collector.
So what happens in DC in the printmaking world?
Plenty - galleries specializing in printmaking are plentiful, particularly in the Dupont Circle area. For work by contemporary
artists in the Washington area, Washington Printmakers Gallery
at 1732 Connecticut Avenue is a must. Forty artists show their work here, all focus on
printmaking, and the gallery represents the best in contemporary printmaking in the area.
For Old Master Prints, check St Luke's Gallery,
1715 Q St NW, 202 328 2424. For 20th century and contemporary artists' prints, check Burton Marinkovitch Fine Art, 1506 21st
Street, NW, 202 296 6901, and Connor Contemporary Art
at 1730 Connecticut Ave, NW, 202 588 8750.
In Georgetown, take a look at the excellent
historical (as opposed to fine art) prints at the Old
Print Gallery. And in Alexandria
a visit to the Torpedo Factory
should not be missed, and look out especially for Printmakers
Inc and Studio 225.
For a good look at fine art prints from the recent and distant past consult the excellent
permanent print collections (and visiting exhibitions) in our national
public galleries. These include The Corcoran Gallery; The National Gallery
of Art; The National Museum of American Art, The National Portrait Gallery, The Hirshorn
Gallery, The National Museum of Women in the Arts, and The Library of Congress.
And, if you need help navigating this exciting maze,
join The Washington Print Club (301 460 5019). This is a non-profit
organization of more than 350 members open to all who appreciate original prints. Its
membership comprises curators, printmakers, educators, dealers, and collectors of all
types: major and modest, specialized and eclectic. The Club arranges visits to the print
rooms of Washington's major museums as well as lectures and walking tours by curators and
scholars. Club members have the opportunity to view local private collections, and to
visit print rooms, galleries and private collections in other cities. Other activities
include the study of printmaking techniques, workshops in framing and preservation of
prints, and studio/workshop demonstrations of printmaking by artists. The Print Club
actively encourages the art of printmaking and its membership is open to all who
appreciate original prints.
So get out there, explore, collect and enjoy for years
to come.
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