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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.
Mezzotint is a monochrome printmaking process of the intaglio family. It was the first printing process that yielded half-tones without using line- or dot-based techniques like hatching, cross-hatching or stipple. Mezzotint achieves tonality by roughening a metal plate with thousands of little dots made by a metal tool with small teeth, called a "rocker". In printing, the tiny pits in the plate retain the ink when the face of the plate is wiped clean. This technique can achieve a high level of quality and richness in the print, and produce a furniture print which is large and bold enough to be framed and hung effectively in a room.
John Martin was an English Romanticist painter, engraver, and illustrator. He was celebrated for his typically vast and dramatic paintings of religious subjects and fantastic compositions, populated with minute figures placed in imposing landscapes. Martin's paintings, and the prints made from them, enjoyed great success with the general public, with Thomas Lawrence referring to him as "the most popular painter of his day". He was also lambasted by John Ruskin and other critics.
John Linnell was an English engraver, and portrait and landscape painter. He was a naturalist and a rival to the artist John Constable. He had a taste for Northern European art of the Renaissance, particularly Albrecht Dürer. He also associated with the amateur artist Edward Thomas Daniell, and with William Blake, to whom he introduced the painter and writer Samuel Palmer and others of the Ancients.
John Raphael Smith was a British painter and mezzotinter. He was the son of Thomas Smith of Derby, the landscape painter, and father of John Rubens Smith, a painter who emigrated to the United States.
Samuel Cousins was a British mezzotinter.
Henry Thomas Ryall was an English line, stipple and mixed-method engraver and later used mixed mezzotint.
William Miller was a Scottish Quaker line engraver and watercolourist from Edinburgh.
Thomas Burke was an Irish engraver and painter.
Samuel William Reynolds was a mezzotint engraver, landscape painter and landscape gardener. Reynolds was a popular engraver in both Britain and France and there are over 400 examples of his work in the National Portrait Gallery, London.
John Swaine, was an English draughtsman and engraver.
George Cooke, was an English line engraver.
James MacArdell was an Irish mezzotinter.
William Say (1768–1834) was a British mezzotinter, born in Lakenham, Norfolk.
Richard John Spare is a British artist and Master Printmaker known primarily for his drypoints, etchings and oil paintings. He is based in London.
William Meriton Eaton, 2nd Baron Cheylesmore is best remembered as a leading collector of English mezzotint portraits, and collector of other art. His mezzotints and other prints, over 10,000 in number, were left to the British Museum, and five oil paintings to the National Gallery, London. He also stood unsuccessfully for Parliament for the Conservative Party at Macclesfield in 1868, 1874 and 1880, and held a nominal partnership in the family silk business.
Alfred Charles Whitman was a British print historian and museum curator, known for his books on the works of Valentine Green, Samuel William Reynolds, Samuel Cousins, and Charles Turner.
Constance Mary Pott, RE, was an English printmaker and teacher active during the late nineteenth century and the twentieth century. She became technical and teaching assistant to the teacher and printmaker Sir Frank Short at the Royal College of Art from 1902 until Short's retirement in 1924. In her day she was recognized as a pioneer in the etching revival, for her dynamic, versatile mastery of technique and line, for the spacious evocation of landscape in her plates, and for her formal professional occupation, all exceptional achievements by any standards, but more especially so in their combining in her to overcome societal disapproval of professions for women. As a teacher she had a powerful and acknowledged influence upon a whole generation of engravers who passed through the College. However, she long outlived the fashion of that movement, and her central role in it was for a time almost forgotten. Examples of her own works, principally etchings, are held in leading national collections, and appear in the salerooms. She is sometimes confused with her mother, Constance Mary née Fearon, Mrs Henry Pott (1833-1915).
Elisha Kirkall (c.1682–1742) was a prolific English engraver, who made many experiments in printmaking techniques. He was noted for engravings on type metal that could be set up with letterpress for book illustrations, and was also known as a mezzotint artist.
Anthony Dyson (1931–2023) was an English artist, master printmaker, art historian, teacher and writer.
References
- 1 2 Dyson, Anthony (1983). Thomas Ross & Son, Fine Art Printers: The Nineteenth Century Heritage. OCLC 23663050.
- 1 2 "Dixon & Son | Collections Online | British Museum". British Museum . Archived from the original on 27 July 2024. Retrieved 27 July 2024.
- 1 2 Martindale, Percy Henry (1928). Engraving Old and Modern. London: Heath Cranton. OCLC 4892920.
- ↑ "Thomas Ross & Sons | Collections Online | British Museum". British Museum . Archived from the original on 14 July 2024. Retrieved 14 July 2024.
- 1 2 3 Dyson, Anthony (29 March 2005). "Beryl Pomeroy | News / Obituaries | The Independent". The Independent . Archived from the original on 27 July 2024. Retrieved 27 July 2024.
- 1 2 "Dixon, Henry | photoLondon". photoLondon. Archived from the original on 27 July 2024. Retrieved 27 July 2024.
- ↑ "Henry Dixon | Science Museum Group Collection". Science Museum Group . Archived from the original on 28 July 2021. Retrieved 27 July 2024.
- ↑ Dyson, Anthony (1984). "Images Interpreted: Landseer and the Engraving Trade". Print Quarterly . 1 (1): 29–43. JSTOR 41811971 – via JSTOR.