|Size||19,68" x 25,98" Inchees|
Original etching, signed and numbered by the artist.
Print 275 copies.
Good but yellowed paper slightly due to the weather.
Impressed stamp of a cat on the lower left side sheet.
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BURN THE DIFFERE
The intaglio .1.
Born probably the work of the goldsmith in Africa to adorn the silver dishes, carved decor in the material is coated with a black solution to make it more visible. What will become the printed etching seizes the line of recessed pattern unlike the Savings size where the drawing appears in relief (woodcut).
The process involves incising on a rigid support (copper, steel, zinc ...) drawing a line whose engraved and inked printing leaves its imprint on paper. Wiped with a gauze (tarlatan), the palm of the hand, one possible indicator for the quality of the ink, will end the operation. The paper previously moistened and brushed to bristle fiber, sucks in every detail the ink of the engraving in the press effect.
The chisel has a cut point of steel, very sharp diamond that allows pure incision on the previously polished copper. The serious artist copper more or less deeply as he wants a line more or less black. Safe and measured gesture hollow plate and makes an instantly recognizable trait net on burning.
Drypoint is a copper engraving technique performed with a steel pen (or steel tip) or a diamond sparkle.
Entering the board, the tip emerges barbs that hold the ink and gives precise contour lines less than the chisel.
It is this very special effect with very deep blacks who is wanted by the drypoint recorders.
Mezzotint, also said mezzotint, based on the principle of from black to reach the light.
To do this, the entire plate is cut with a "cradle" (goes to sleep) which gives a regular pattern and capable of retaining ink.
The drawing appears more or less clear, crushing the barbs of the frame with a "scraper" or "burnishing".
Artists often use different techniques to joint the same engraving.
The intaglio .2.
Indirect processes or hot processes are treated with acids and concern etching and aquatint.
Dürer discovered the principle of etching probably after seeing the burners breastplates that use acid to burn faster metal.
The plate is soaked in an acid attack which places not covered with varnish or resin (hence the drawing). Bites or pigmentation obtained on the plate is inked and wiped with tarlatan and the palm of the hand. The preparation of the paper, ink and printing follow the same principles as those applied to direct processes and must be repeated for each print. The artist often uses several plates for the same print.
The etcher draws to tip on a polished metal plate and pickled previously coated with a varnish. The plate is immersed in an acid that bites only the exposed parts (the drawing), the varnish protecting the rest. The line will be more corroded than copper or other metal remains immersed in more or less in the acid bath.
This process allows to give the engraving material comparable effects to the wash. Used on the surface of work, it consists in spreading a resin powder on the plate is heated to cure the resin that sticks to the support.
Dipped in the acid bath, the thus prepared plate is bitten in the uncovered parts by resin grains.
The result is a pigment which provides after printing, often colored shades (shimmer ...).
Artists often use different techniques to joint the same engraving.
Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life.
Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums.
Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931.
Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy,
very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy.
In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery.
Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau.
A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri and Constantin (Kot) Jelenski (two of her longtime lovers, with who she lived simultaneously, along with more than a dozen cats), and her friends writer Jean Genet, actresses Maria Casarès, Anna Magnani, Alida Valli, and Suzanne Flon, ballerina Margot Fonteyn, film director Luchino Visconti, artists Meret Oppenheim and Leonora Carrington, and socialites Francesca Ruspoli and Hélène Rochas.
Fini’s love of designing for stage and screen may have derived from her passion for extravagant masks, elaborate costumes, and fantastical drama. She created award-winning set designs, costumes, and posters for the Paris Opera and the Metropolitan Opera Association, George Balanchine’s Le Palais de cristal (now called Symphony in C), Anouilh’s Les Demoiselles de la nuit, Renato Castellani’s Romeo and Juliet, Wagner’s Tannhäuser, Racine’s Bérénice, Jean Genet’s The Maids and The Balcony, Federico Fellini’s 8 1/2, and John Huston’s A Walk with Love, Anjelica Huston’s first film.
Talented, glamorous, and controversial, Leonor Fini was a frequent subject of poems and photographs by many members of her circle, including Charles Henri Ford, Paul Eluard, Georges Hugnet, Erwin Blumenfeld, Dora Maar, Man Ray, Georges Platt Lynes, Lee Miller, Horst, Brassaï, Cecil Beaton, and Henri Cartier-Bresson.
GALERIE SOPHIE BOULAN - Copyright - Aforma - 2015