Are You Close Enough?
The Sarah Campbell Blaffer Foundation collection at the Museum of Fine Arts in Houston contains woodcuts, engravings, etchings, and more. Four of the works in the Post Chiaroscuro: Prints in Color After the Renaissance exhibition are prints on loan from the Blaffer Foundation. These prints include:
St. Pierre (1838), by Paul Gavarni
A peep at Christies: _or_ Tally-ho, & His Nimeney-Pimmeney Taking the Morning Lounge, by James Gillray
The Sculptor, by Johann Jakob Haid after Jean-Baptiste-Marie Pierre
The Landscape Painter, by Johann Jakob Haid after François Boucher
The fourth set of questions on the ARHS 3364 looking assignment pertains specifically to these works. Four frames in the Post Chiaroscuro exhibition contain these prints.
Question 9: The third main type of printing according to Bamber Gascoigne's How to Identify Prints, on reserve at Hamon Arts Library circulation desk, is _____.
Question 10: Which print utilizes the third main type of printing?
Answer: Paul Gavarni's St. Pierre print utilizes the third main type of printing, planographic, and, more specifically, the form of a colored lithograph. A lithograph is an impression of a matrix made of stone, which utilizes the principle of antipathy between grease and water. The impression was hand-colored following printing.
Caroline Aston, Class of 2014
Question 11: How does it look different from Janet Turner's Iguana and Octavio Medellin's Untitled (Hummingbird)?
Answer: St. Pierre, an example of planographic printing, looks different from Untitled and Iguana, because there is neither ink squash, as there would be in a relief print, nor a plate mark, as there would be in an intaglio print.Liz Caramante, Class of 2015
Question 12: The two prints published by Johann Jakob Haid achieve the blue backgrounds using a technique different from the green floor in James Gillray's A Peep at Christie's: _or_ Tally-ho and His Nimeney-Pimmeney Taking the Morning Lounge and the blue background in Octavio Medellin's Untitled (Hummingbird). Consulting Bamber Gascione's How to Identify Prints as needed, what technique does Haid use?
If you are visiting the exhibition online, click here to see the artifacts needed to answer the question
Answer: In these two prints, Haid utilized mezzotint, an intaglio technique. The artist employed a rocker, a tool with a rounded edge covered in tiny “teeth” that creates thousands of dots in the surface of the matrix. These dots produce a uniform half or middle tone. Haid then created darker tones by carving with a burin and lighter tones by burnishing or smoothing out the rocked surface.
Madeline Ryder, Class of 2015