Prints and Printmakers
 

What, exactly, is an original print? This question frequently causes confusion and sparks debate amongst present-day art lovers, collectors, dealers, and even artists themselves.

Commercial art reproductions based on photographic processes have been around for well over a century. The most common publishing method, offset lithography, has been joined recently by giclee—digitally reproduced images printed with inkjet—and these methods are well suited to posters, book illustration and advertising art.  The art market has been flooded in the last thirty years or so, with costly yet ultimately worthless reproductions posing as limited edition prints. 

The confusion related to reproductions has been created by art publishers, investors, and ambitious artists with an eye to making large profits from an uninformed public—a public who are under the impression that if it is signed and numbered and comes with a certificate, it is not only worth paying a high price for, but will also appreciate in value. In many cases, the artists themselves, particularly those without a background in the methods of original printmaking, have been led to believe this.

True printmaking—in its various forms—is as legitimate and exciting a visual art form as any other original medium such as painting, drawing, and sculpture.  As with other art forms, the history of printmaking is rich with accidental discovery, experimentation, improvement and mastery of technique.

Our exhibition, “Prints and Printmakers” is an effort to educate and perhaps introduce some would be collectors to the incredible diverse forms and styles of printmaking.  

All of the prints on exhibition are from Hames’ private collection. The show will feature examples of all the major printing methods—relief (such as woodblock and linocut), intaglio (such as etching, aquatint and drypoint), planographic (lithography and chromolithography) and serigraph (silkscreen)—by an impressive list of well documented and historically significant artists.

From early nineteenth century traditional woodblock prints by Japanese masters Utagawa Hiroshige and Utagawa Toyokuni II, to a lithograph by famed Mexican David Alfaro Siqueiros.  From the exquisite early twentieth century etchings of Austrian Luigi Kasimir to a bright 1959 abstract serigraph by Latvian Yaakov Wexler, the show is diverse on many levels. Not only do the artists and their works represent a wide scope in terms of nationality, time period and printmaking methods, but also in the styles and subject matter employed.

Some pieces, such as a 1917 nude typical of Swedish etcher Anders Zorn, appear to be concerned mainly with the mastery of the technique itself. A 1915 etching by American George Senseney created a sensation at the Pan Pacific Exposition in San Francisco when this artist was celebrated for introducing the coloured etching process to North America.

Other works show evidence that the method itself was carefully considered by the artist when planning works meant to convey—whether powerfully or subtly—views on the social issues of their times. German Expressionist Kathe Kollwitz’ late nineteenth century “Riot” and “March of Weavers” make the point, in black and white, about the brutal suffering of the working class through her masterfully accomplished etchings. American Jack Levine, on the other hand, boldly says his piece about international relations with his skilfully executed 1967 colour lithograph “Reception in Miami.”

Viewers will be treated to woodcuts by acclaimed American Leonard Baskin, Jewish commentator Joseph Budko, Japanese traditionalist Kasamatsu Shiro and Danish landscape artist Aage Roose. The etchings on display, which demonstrate additional skill with colour, aquatint, softground and drypoint, include works by Austrian Hans Figura, German Paul Herrmann, Japanese Kamesuke Hiraga and  American Chauncey Foster Ryder along with a stunning abstract by Czechoslovakian Terry Haas. Moody black and white 1930s lithographs by Anthony Thieme and William S. Gisch are complemented by more recent, colourful works such as Abraham Rattner’s 1966 abstract, “Why?”

Altogether, there will be more than thirty-five original prints on display, with information on every artist represented and the methods used to create each individual piece. As well, general information will be provided on the basic principles behind the various forms of original printmaking. To complement the exhibition, the gallery will be showing at least twenty new original prints created by artist Michael Hames using a variety of monoprint and linocut techniques.

Salt Spring Island is being actively and seriously promoted as a fine art destination.   It is hoped that more artists will be encouraged to pursue traditional printmaking methods as another form of artistic expression, and offer, at the same time, artwork that is both original and affordable, to a better informed public.     

Leonard Baskin, American

Georges Huardel Bly, French 1872-?

Joseph Budko, Polish 1889-1940

John Culik, American 1926-

Hans Figura, Austrian 1898-1978

William S Gisch, American 1906-1989

Terry Haass, Czechoslovakian 1923-

Paul Herrmann, (aka Henri Heran) German 1864-1940

Kamesuke Hiraga, Japanese 1890-1971

Utagawa Hiroshige (Ando), Japanese 1797-1858

Luigi Kasimir, Austrian 1881-1961

Kathe Kollwitz,  Russian/German 1867-1945

Jack Levine, American 1915-

William Auerbach Levy, Russian/American 1889-1964

Tom Maxwell, Scottish 1900-1940

Leopoldo Mendez, Mexican 1903-1967

Nicolaes van der Waay, Dutch 1855-1936

Abraham Rattner, American 1895-1978

Aage Roose, Danish 1880-1970

Chauncey Foster Ryder, American 1868-1949

George Eyster Senseney, American 1874-1943

Kasamatsu Shiro, Japanese 1898-1991

Anders Zorn, Swedish

David Alfaro Siqueiros, Mexican 1896-1974

Halvard Storm, Norwegian 1877-1962

Anthony Thieme, Dutch/American

Utagawa Toyokuni II, Japanese 1769-1825

Yaakov Wexler, Latvian 1912-1995