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Tuesday, October 11, 2011
San Francisco
Monday, October 3, 2011
Linearis Institute© Shop
Marc Chagall: The Lithographs LA Collection Sorlier
Distributed Art Pub Inc, 1998. Hardcover. 1st Edition. English language, This catalog illustrates Marc Chagall's complete lithographic output, less the posters in 416 pages with 1,050 individual images. Book size is 12.8 x 9.8 x 1.6 inches and heavy.
This is an important catalog for collectors or art dealers interested in the lithographic history of Marc Chagall. It contains an insightful interview with Chagall and Henri Deschamps. "This beautifully produced catalogue raisonné includes descriptions of Chagall's lithographic process, which utilized stone or zinc plates and acid, and interviews with the printers who worked with Chagall to produce these pieces.
This is a lovely, colorful book that reproduces many of the best
examples of this important artist's favorite works." Avaailble at
http://shop.linearisinstitute.org/.
Linearis Institute® Prints&Drawings™ is a public repository for the visual arts specializing in works on paper by great masters of the past 500 years. Founded in 2002, Linearis Institute has the distinction of combining an intimate yet elegant gallery space with extensive educational and community outreach. If you have any questions or concerns about a product or its availability, please contact us at info@linearisinstitute.org.
For more info:
http://www.linearisinstitute.com
Announcing a Limited Edition Commemorative Lithograph by Mohamed Zakariya
‘O People,’ a Limited Edition Commemorative Lithograph by Mohamed Zakariya, is available, along with other recent works, at the Linearis Institute Shop. Designed to commemorate a work originally commissioned by U.S. President Barack Obama as a gift to King Abdullah Bin Abdulaziz of Saudi Arabia, ‘O People,’ is the first of Zakariya's works to be produced in a print medium. This highly collectible edition has been limited to 175 prints.
Mohamed Zakariya is represented by the Linearis Institute.For information call 888-362-3906.
http://www.zakariya.net/
Sunday, November 15, 2009
Mohamed Zakariya's - O People, The Commemorative Limited Edition Lithograph
M. Zakariya's long awaited limited edition is underway. Many questioned if the traditional process of lithography could be used for calligraphy, however I was always optimistic that such a transition could be made. Considering the amazingly diverse effects that were achieved with the use of lithography in the Paris studios from 1890-1970, I had hoped that with the right Master Printer, the outcome would be spectacular. We found the right Master Printers in our own backyard. After much effort, searching throughout Europe and the Eastern United States, our former Gallery Director Michelle Huyn discovered Kala Art Institute in Berkeley, California. Kala Art Institute (KAI) is supported by The James Irvine Foundation. Since 1974 the "artists at Kala [have been] encouraged to produce innovative artwork of the highest quality, and are given total freedom to realize their artistic vision using media that span the Gutenberg press to digital eras." Since our premier visit to Kala during our interview process for this project, I was quiet impressed by their master printers vast knowledge of the lithographic process. The two Master Printers, Steven Wright and Sharon Heitzenroder bring a collective 25 years of experience to our project. Kala has one of the most extensive archive of Bavarian lithographic limestone slabs, brought from Europe in the 1960's, in the industry. I will update this journal with photographs and explanations of the process throughout, hoping to shed light on a complex chemical printing process.
Thursday, July 9, 2009
Rembrandt's technique
The chemical technique of etching was developed in the Middle Ages by Arabic armouries as a means of applying decoration to weapons. It flourished in the fifteenth century in south Germany, where the first etched prints on paper were printed towards the end of the century.
During the first decades of the seventeenth century Dutch artists like Esaias van de Velde, Jan van de Velde II and Willem Buytewech experimented with the technique. They were looking for greater tonality and an atmospheric effect in their landscape prints and tried to achieve this by breaking up the long contour lines into short strokes and dots.
Hercules Segers experimented with etching for a different reason: he tried to produce a painterly effect by printing on coloured paper or canvas, also working up his prints afterwards with a brush in colour and thus incidentally making every impression unique.Rembrandt must have taken more than a little interest in these developments, for he ultimately took the technique to extremes even more than had his predecessors. In his hands, etching became a fully fledged medium which occupied him at intervals for the rest of his life. This resulted in an oeuvre of some 290 etchings, all intended as substantive works of art. Rembrandt's masterly use of the drypoint and the unique deep black of many of his etchings were famous even in his own day and his work was much sought after by the many print collectors of the time.
see more of this article at Rembrandtpainting.net
During the first decades of the seventeenth century Dutch artists like Esaias van de Velde, Jan van de Velde II and Willem Buytewech experimented with the technique. They were looking for greater tonality and an atmospheric effect in their landscape prints and tried to achieve this by breaking up the long contour lines into short strokes and dots.
Hercules Segers experimented with etching for a different reason: he tried to produce a painterly effect by printing on coloured paper or canvas, also working up his prints afterwards with a brush in colour and thus incidentally making every impression unique.Rembrandt must have taken more than a little interest in these developments, for he ultimately took the technique to extremes even more than had his predecessors. In his hands, etching became a fully fledged medium which occupied him at intervals for the rest of his life. This resulted in an oeuvre of some 290 etchings, all intended as substantive works of art. Rembrandt's masterly use of the drypoint and the unique deep black of many of his etchings were famous even in his own day and his work was much sought after by the many print collectors of the time.
see more of this article at Rembrandtpainting.net
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