|Material||Hand made Paper Moulin de Larroque|
|Size||17,71" x 22,44" Inchees|
Original carborundum etching signed and numbered by the artist.
Manual intervention with paint hightlights and collage. Each piece is different.
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BURNING IN CARBORUNDUM OR GOETZ METHOD
Born to a French-American family in 1909 the Goetz painter, to overcome the difficulties of engraving, began looking for a technique that does not use water.
He developed in 1967, after 10 years of effort, carborundum etching.
DEFINITION AND PRINCIPLE
Carborundum (silicon carbide) is a combined emanation of silicon and carbon, which is crystalline in nature and is similar to coal.
It is in the form of more or less fine-grained and has the distinction of strongly harden the materials with which it is mixed.
The recorder deposited on the metal or other support (plexiglass, ...) a paste of plastic resin (or other) and carborundum grains. Once dried, this very hard material has a relief. It is therefore not to incise a plate. The panel is used here only as a support for the added material, which is modeled asperities recessed and raised. This material has the advantage of retaining the ink with a wide variety of shades and structures.
From thereon, the printing process is identical to that of intaglio with the exception:
- The ink can be carried out both on the reliefs in the hollow,
- The shape given to the "matrix" smashes the paper and prints it in the press effect (up to 17 tons of pressure) as well as its negative colors applied by hand,
- The paper in thicker tank (600 gr) and humidified beforehand to soften it, is
The Goetz process used by painters is growing worldwide.
Variations of application and its technical possibilities are almost endless. Each artist reinvents and adapts the Goetz process open to the most diverse expressions.
Miro, Clave, Papart, Coignard, Hélénon, Brisson, including Cottavoz have applied or are still working with it always had innovation process.
Naturally it is possible to combine the carborundum etching with all other printing techniques.
James Coignard, painter, ceramist, sculptor and engraver, was born in 1925 in Tours.
After a brief career in government, he discovered at the age of 23 years the landscape of the French Riviera. That's when he decided to follow the courses of the School of Decorative Arts in Nice. Will forsake 4 years later the administration to devote himself exclusively to his artistic career.
It's his meeting with Paul Hervieu in 1950 that will be decisive. Coignard exhibited for the first time in Beaulieu-sur-Mer and it was through Paul Hervieu he meets Braque, Matisse and Chagall.
In 1952, he moved to Paris and installed his ceramics workshop. He began exhibiting in the Scandinavian countries. He married Mireille Poupart; he returned to Beaulieu-sur-Mer in 1956, where he set up his studio. At that time it found Atlan, Christine Boumeester, Henri Goetz, Max Papart ...
In 1958 Coignard stop practicing ceramics to devote himself to painting. In the 1960s, his career took an international dimension, particularly in the US and Sweden. He traveled around the world and try new techniques such as tapestry and glass sculpture.
His collaboration with the gallery Hervieu it will gain visibility in the art world and abroad, especially in Scandinavian countries. James Coignard at the beginning of his career will be appointed by critics as belonging to the School of Paris. Very soon his paintings and ceramics and it will stand out in alone.
In the early 60s he began working glass but a turning point in his technique is taken in 1968 when his friend Henri Goetz discovers a new etching process with carborundum. The engraving becomes central in his Work. His career at the same time an international dimension. He travels a lot, particularly in Sweden and the United - States where he lived a few years.
In the late 1960s, the artist will especially exploit the opportunities offered by the carborundum etching. This is an unclassifiable, he touches, experimenting, trying, and trying tirelessly supports, forms and techniques that allow him to develop his artistic research. Early in his career, Coignard is likened to the realists of the School of Paris. Very quickly, it becomes difficult to stop working in one of the art movements of the second half of the twentieth century; but, in view of his work, it is clear that James Coignard fully belongs to its time.
In 1978 James Coignard will start a long collaboration with the engraving workshop Pasnic it will help to create. In the 80s, living between Paris and the French Riviera, it is interested in artists' books and publishing issues. It now sets worldwide and is recognized as one of the greatest painters printmakers of his time.
It is through painting and drawing that James Coignard will develop his aesthetic thought.
Marcelin Pleynet in James Coignard and memory signes2, writes: "the work of James Coignard has all the characteristics of a work belonging to the area of modern art [...] the work of James Coignard seems curiously silent as soon as we work to compare, to think, to understand the basis of such and such conventional data. "This is its very essence.
Until his death in 2008 James Coignard will continue to work in both painting and sculpture and engraving, producing many and leaving behind an immense work.
GALERIE SOPHIE BOULAN - Copyright - Aforma - 2015