George Raab | |
|---|---|
 Lone Pine (etching), 2000 | |
| Born | 1948 Marseilles, France |
| Nationality | Canadian |
| Education | University of Toronto, General Arts with intaglio studio work; Ontario College of Art and Design, Creative Arts courses; Sheridan College School of Visual Arts, Creative Arts (specializing in printmaking) |
| Known for | Graphic artist |
George Raab (born 1948) is a Canadian printmaker who has gained an international reputation for his wilderness landscape photo-based etchings and aquatints.
Raab spent his early years in Toronto and discovered printmaking as a student at Sheridan College in Oakville, Ontario. [1] After graduating in 1971 with a diploma in fine arts, he enrolled in the University of Toronto as an extension student to study in the printmaking studio. He also studied etching at Erindale College, Streetsville, Ontario. [2] [1] In 1970, he travelled internationally. [1] By 1978, he was living a few miles north of Bancroft, Ontario. There he set up a studio and by May 1978 held his first solo show at the Downstairs Gallery, Bancroft. He moved to Lakefield, Ontario, in 1980 to be nearer Trent University at Peterborough and became artist-in-residence in 1981, at Trent University's Otonabee College. At Trent University in 1981, he held a retrospective exhibition of etchings. [1] Since then, he has held dozens of solo exhibitions as well as participated in many group shows throughout Canada, the United States, Europe and the Far East. His work is included in more than 100 public, private, and corporate collections, including the Art Gallery of Ontario. Among Raab's numerous awards is the Grand Prize for Prints at the prestigious American Biennial of Graphic Art. [2] He lives today and has his studio in Millbrook.
His intaglio images are made by creating grooves and textures below the surface of zinc or copper plates. The techniques he uses most frequently are etching, aquatinting, photo-etching, and watercolour painting. His inspiration and subject matter is from the natural areas around Millbrook, Ontario and the Kawarthas. [3]
He is a former director of the Algonquin Arts Council; a member of the Canadian Artists’ Representation, Ontario, the founder and former curator of the Ironwood Art Gallery, Trent University, Peterborough; a member of the International Graphics Society, New York, New York; a former member of the Executive Council of the Ontario Society of Artists' a member of the board of directors of the Otonabee Conservation Foundation; a member of the Print and Drawing Council of Canada; and of the Print Club, Cleveland, Ohio. [2]
"My original landscape etchings are bits and pieces of a familiar landscape. There is a sense of peace and solace within them, of mystery and primal longings. They are a cry for the preservation of those wild lands we need in order to know ourselves, and a celebration of our natural heritage. Printmaking, my chosen medium, is very indirect and elusive. In these intaglio prints there is a sense of the mystery of the wild lands we all need in order to better know ourselves.". [4]
Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio (incised) in the metal. In modern manufacturing, other chemicals may be used on other types of material. As a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of modern variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology, including circuit boards.
Printmaking is the process of creating artworks by printing, normally on paper, but also on fabric, wood, metal, and other surfaces. "Traditional printmaking" normally covers only the process of creating prints using a hand processed technique, rather than a photographic reproduction of a visual artwork which would be printed using an electronic machine ; however, there is some cross-over between traditional and digital printmaking, including risograph. Except in the case of monotyping, all printmaking processes have the capacity to produce identical multiples of the same artwork, which is called a print. Each print produced is considered an "original" work of art, and is correctly referred to as an "impression", not a "copy". However, impressions can vary considerably, whether intentionally or not. Master printmakers are technicians who are capable of printing identical "impressions" by hand. Historically, many printed images were created as a preparatory study, such as a drawing. A print that copies another work of art, especially a painting, is known as a "reproductive print".
Aquatint is an intaglio printmaking technique, a variant of etching that produces areas of tone rather than lines. For this reason it has mostly been used in conjunction with etching, to give both lines and shaded tone. It has also been used historically to print in colour, both by printing with multiple plates in different colours, and by making monochrome prints that were then hand-coloured with watercolour.
Sir Francis Job "Frank" Short PPRE was a British printmaker and teacher of printmaking. He revived the practices of mezzotint and pure aquatint, while expanding the expressive power of line in drypoint, etching and engraving. Short also wrote about printmaking to educate a wider public and was President of the Royal Society of Painter Etcher & Engavers from 1910 to 1938. He was a member of the Art Workers' Guild and was elected Master in 1901.
Intaglio is the family of printing and printmaking techniques in which the image is incised into a surface and the incised line or sunken area holds the ink. It is the direct opposite of a relief print where the parts of the matrix that make the image stand above the main surface.
Martin Lewis was an Australian-born American etcher.
Vitreography is a fine art printmaking technique that uses a 3⁄8-inch-thick (9.5 mm) float glass matrix instead of the traditional matrices of metal, wood or stone. A print created using the technique is called a vitreograph. Unlike a monotype, in which ink is painted onto a smooth glass plate and transferred to paper to produce a unique work, the vitreograph technique involves fixing the imagery in, or on, the glass plate. This allows the production of an edition of prints.
Ken Kerslake (1930–2007) was a printmaker and professor credited with being "one of a handful of printmaker-educators responsible for the growth of printmaking in the southeast in the years following World War II." Kerslake taught at the University of Florida in Gainesville, which gave him the title of Distinguished Service Professor Emeritus after his retirement.
Chaim Koppelman was an American artist, art educator, and Aesthetic Realism consultant. Best known as a printmaker, he also produced sculpture, paintings, and drawings. A member of the National Academy of Design since 1978, he was president of the Society of American Graphic Artists (SAGA), which presented him with a Lifetime Achievement Award in 2004. He established the Printmaking Department of the School of Visual Arts in 1959, and taught there until 2007.
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Francis Robert Kelly was an American artist, printmaker, art restorer and author.
Michael Kempson is an artist, master printmaker, academic and curator. His work is held in collections on Australia. Since 1986 Kempson has taught printmaking, currently at Sydney University and The University of New South Wales. Internationally he is a visiting professor at the Xi’an Academy of Fine Arts in China, and from 2014-2016 he was the International Member at Large for Southern Graphics, based in the USA.
Ed Bartram, also known as Edward or Ted Bartram, was a Canadian artist who was known for capturing the rockscape of Georgian Bay through printmaking, painting and photography.
Otis Tamasauskas is a printmaker and educator.
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