83 Sentences With "mezzotints" | Random Sentence Generator

The clearest images are in a set of 1710 mezzotints, "The Four Indian Kings," by the British printmaker John Simon.

I'm an associate curator in the Department of Photographs at the Metropolitan Museum of Art; several years ago, while doing research for the exhibition "Faking It: Manipulated Photography Before Photoshop," I viewed the images of Lincoln and Calhoun at the Library of Congress and discovered, to my disappointment, that these works aren't photographs—they're mezzotints, a type of engraving.

It is near the very end of "The Long Run," just before the final gallery, where eight of Vija Celmins's mezzotints of infinite starry nights and ocean waves — also new to the collection — form the serene final fade-out of the show, which has been organized by Paulina Pobocha, an associate curator, and Cara Manes, an assistant curator, in consultation with their department head, Ann Temkin, chief curator of painting and sculpture.

In 1993 the woods and fields of northwestern Connecticut provided inspiration for paintings and mezzotints.

William Sherwin (1645?–1709?) was an English engraver, one of the first to work with mezzotints.

John Chaloner Smith (19 August 1827 - 13 March 1895) was an Irish civil engineer and collector of and writer on British mezzotints.

20 Although predominantly working in mezzotint, Turner also produced stipple engravings, aquatints, and etchings. The mezzotints themselves were worked over an etched background.Whitman 1907, p.

Tall Trees at Night (2001), mezzotint, ed. of 60; artist's proofs 10, 19 " x 13"Kipniss stopped making lithographs in 1990 and began to create mezzotints. He had his first solo mezzotint show in New York in 1992. He also showed mezzotints in 1995 at his first solo print show in England, and that year they comprised his first show of prints in Germany.

He was the only member of the group to also focus on printmaking. Ilsted’s achievements in mezzotints were revolutionary. Some of his mezzotints, most of which were created in black as well as color editions, are considered among the greatest ever made. His greatest contribution, which T. F. Šimon (187-1942), Manuel Robbe (1872- 1936), and others seemingly adopted was that of inking the plate à la poupée.

"superb" and "one of the greatest mezzotints" ever produced;Griffiths, p.85. other important works by Rupert include the Head of Titian and The Standard Bearer.Spencer, p.252.

Piersol, 11. Tall Trees at Night is one of Kipniss's many mezzotints that view trees fairly close up at dusk or night and show a play of light upon them. The characteristics that became increasingly prominent in his mature work, his concern with capturing the essence of form and with even more subtle light effects, are clearly apparent. The trees in Kipniss's mezzotints have an especially strong purity of form when only their trunks are depicted.

A portrait of Alexander I was published after his return, on 1 May 1803. A number of Walker's mezzotints were published for the first time in 1819, and one, The Triumph of Cupid, after Parmigianino, in 1822.

Early mezzotint by Wallerant Vaillant, Siegen's assistant or tutor. Young man reading, with statue of Cupid. Probably made using light to dark technique. The first mezzotints by Ludwig von Siegen were made using the light to dark method.

In 1974 Miss Kathleen Cooper-Abbs gave an extensive and fine collection of mezzotints to the National Trust, which displayed some in the Dining Room at Nunnington Hall. These are prints of the eighteenth century after Joshua Reynolds (1723–1792).

The son was the more significant artist, known for mezzotints. The portrait painter Jonathan Richardson (1665–1745) executed many drawings in pencil, examples of which can be seen in the British Museum. The Scot David Paton was working in 1670.

Squirrell made few oil paintings, preferring watercolour and pastels, and he exhibited in many galleries. He produced aquatints, mezzotints and drypoints. He produced railway posters, and images for many commercial companies. Landscape Painting in Pastel was published in 1938, and Practice in Watercolour in 1950.

Welsh engravers National Library of Wales A popular portrait painter, several of his portraits are now held at the National Museum of Wales, including oils of preacher Christmas Evans, Thomas Charles, John Cox, and poet John Jones. The Museum also houses several mezzotints and lithograph portraits by him.

Kipniss, Artist's Life, on his drypoints, 175–76. "Almost all of his drypoints have the large areas of white typical of that medium, creating much more of an effect of outdoor light than his mezzotints."Grace, Introduction, in Intaglios, 5. Springfield, O.Springfield, O. (1992), drypoint (using two plates), ed.

1868 engraving by Alexander Hay Ritchie depicting Sherman's March to the Sea Alexander Hay Ritchie (1822–1895) was an artist and engraver. He was born in Glasgow, Scotland, and studied in the UK under Sir William Allan, before moving to New York in 1841. He specialised in mezzotints.

It eventually became a gathering point for the artistic community. From 1895 to 1896, he studied graphic arts with Axel Tallberg, and began creating mezzotints. He also produced paintings for the staircase at the Royal Dramatic Theatre. In 1911 and 1918, he held major exhibitions at the Swedish Public Art Association (Sveriges allmänna konstförening).

Mezzotints and engravings after him of Daniel Waterland (1683-1740), Bishop Thomas Wilson (1663-1755), and Mrs Mary Anne Granville are also in the National Portrait Gallery. He was the father of the painter Charles Philips (c.1703-1748) who became a Rembrandt follower. He had a more prestigious client list than his father.

John Savage after Laroon. Laroon became known for small portraits and conversation pieces. He also painted small pictures, on humorous or free subjects, in the style of Egbert van Heemskerk, some of which were engraved in mezzotint by Isaac Beckett and John Smith. He also made some etchings and mezzotints on similar subjects himself.

It was somewhat in competition with the other main tonal technique of the day, aquatint. Since the mid-nineteenth century it has been relatively little used, as lithography and other techniques produced comparable results more easily. Robert Kipniss and Peter Ilsted are two notable 20th-century exponents of the technique; M. C. Escher also made eight mezzotints.

Faber concentrated on mezzotints and was prolific. He was commissioned by Sir Godfrey Kneller and Peter Lely to reproduce their works (the 48-image Kit-Kat Club for the former). Hampton Court. Among his early works were portraits of Charles I of England (1717), Charles XII of Sweden (1718), Sir George Byng (1718), Eustace Budgell (1720), and others.

Bullard, Foreword, in Paintings, on "meditative silence" in Kipniss's paintings and prints, x. Kipniss often uses the subject matter of a painting in a lithograph or mezzotint, sometimes with variations. His paintings date from the early 1950s. His main body of prints are lithographs and mezzotints, the former dating from 1968 into 1990, the latter since 1990.

There were two basic styles of collection: some concentrated on making a complete collection of material within a certain scope, while others aimed at perfect condition and quality (which declines in mezzotints after a relatively small number of impressions are taken from a plate), and in collecting the many "proof states" which artists and printers had obligingly provided for them from early on.Griffiths, 134–137; 141–142 Cheylesmore began as the first type of collector, but in his last years "the balance of his interest had swung more decisively towards technique rather than subject", and his bequest specified the collection should be arranged by artist rather than subject.Griffiths, 139–140 This may be part of the reason why, though a will of 1896 bequeathed his mezzotint collection to the National Portrait Gallery, in 1900 a codicil had transferred the bequest to the British Museum, very likely after being wooed by Sidney Colvin, Keeper of Prints and Drawings, and Alfred Whitman, superintendent of the Print Room and a writer on mezzotints. The collection of over 10,000 mezzotints, valued at £30,000, doubled the museum's holdings, and was the subject of a small special exhibition of 69 prints in 1903, while cataloguing and mounting continued, and then a larger exhibition of 641 in 1905.

He was draughtsman to the Duke of York and Albany. Thomas Girtin, was his pupil. Dayes engraved at least four mezzotints, one after George Morland, another after John Raphael Smith, and two humorous scenes called Rustic Courtship and Polite Courtship. He wrote an Excursion through Derbyshire and Yorkshire, Essays on Painting, Instructions for Drawing and Colouring Landscapes, and Professional Sketches of Modern Artists.

Rupert's mezzotint works were popularised by the print collector John Evelyn after the Restoration, and became much admired across Europe.Spencer, p.252. The Great Executioner is generally considered to be one of Rupert's finest works; produced in 1658, it is still regarded by critics as containing 'brilliance and energy',Hind, p.263. 'superb', 'one of the greatest mezzotints',Griffiths, p.85.

15 He was appointed "Mezzotinto Engraver in Ordinary to his Majesty" in 1812Whitman 1907, p.17 and was elected an associate of the Royal Academy in 1828. Up to that point he had only exhibited paintings and drawings at the Academy, but from then on also showed prints. From about 1836 his output declined, and he exhibited no more mezzotints after 1843.

He worked in England, and it has been suggested that he borrowed from the work of Robert Robinson (c. 1651 – 1706), who was a popular English mezzotint engraver, painter, and stage designer.Ganz, James A., Still-life Mezzotints by Robert Robinson Haid also produced botanical work after (1678–1754) and with Johann Elias Ridinger, and worked on Johann Wilhelm Weinmann's "Phytanthoza iconographia".

Maurits Cornelis Escher (; 17 June 1898 – 27 March 1972) was a Dutch graphic artist who made mathematically inspired woodcuts, lithographs, and mezzotints. Despite wide popular interest, Escher was for long somewhat neglected in the art world, even in his native Netherlands. He was 70 before a retrospective exhibition was held. In the twenty-first century, he became more widely appreciated, with exhibitions across the world.

His earliest dated mezzotint is titled Sleeping Cupid and was published in 1677. He based many of his engravings and mezzotints after designs by other artists like Peter Lely, Gérard de Lairesse and Philip Tideman. He published most of his works himself. In Amsterdam, he had a close partnership with his son Leonardus Valck and Peter Schenk the Elder, who married Gerard's sister in 1687.

Only Charles Golding Constable produced offspring, a son. Shortly before Maria died, her father had also died, leaving her £20,000. Constable speculated disastrously with the money, paying for the engraving of several mezzotints of some of his landscapes in preparation for a publication. He was hesitant and indecisive, nearly fell out with his engraver, and when the folios were published, could not interest enough subscribers.

Barras was born at Aix-en-Provence, in 1653. He was a pupil of Boyer d'Aguilles, and studied for some time in Rome. The first edition of the Boyer d'Aguilles Collection, published in 1709, contained 27 mezzotints by Barras, which were replaced by plates engraved by Jacobus Coelemans in the second edition. He also engraved a portrait of Lazarus Maharkysus, a physician of Antwerp, after Anthony van Dyck.

Baron Cheylesmore, of Cheylesmore in the City of Coventry and County of Warwick, was a title in the Peerage of the United Kingdom. It was created on 9 July 1887 for the businessman and Conservative politician Henry Eaton. He had earlier represented Coventry in the House of Commons. He was succeeded by his second but oldest surviving son, William Meriton Eaton, the second Baron, and a notable collector of mezzotints.

Born in Dublin, Burke first trained in the Dublin Society's Schools under Robert West, moving in 1770 to London where he studied mezzotint under John Dixon. He adopted the chalk method popularised by Bartolozzi, continuing to use both styles. Most of Burke's mezzotints were engraved after Angelica Kauffman for William Wynne Ryland, who taught him the stipple engraving technique. Burke preferred to work for publishers and seldom issued prints himself.

He was generally comfortable working in a three-quarter length format; his greatest difficulty lay in attaching the sitter's head to the body. Many of his poses and backgrounds are drawn from English mezzotints of the period. Today two of Johston's paintings may be found in the Metropolitan Museum of Art, while one is owned by the Connecticut Historical Society, and another is owned by the Brooklyn Museum of Art.

Samuel Taylor Coleridge at age 42, engraving by Samuel Cousins from a portrait by Washington Allston. Digitally restored. Speak Lord For Thy Servant Hears (after James Sant), 1854 Cousins was preeminently the interpreter of Sir Thomas Lawrence, his contemporary. During his apprenticeship to Samuel William Reynolds he engraved many of the best amongst the three hundred and sixty little mezzotints illustrating the works of Sir Joshua Reynolds which his master issued in his own name.

However, his later work did not fulfil the promise of his youth, and he never approached the quality of work of his teacher. His painting The Children of George Bond of Ditchleys (1768) is in the collection of the Tate Gallery. Mezzotints by Valentine Green were published after Barron's portraits of John Swan and George Bridges Rodney, 1st Baron Rodney. He was a good violinist, considered the best amateur performer of his time.

Rothe's highly detailed mezzotints focused on surreal landscapes, intricately rendered horses, and graceful dancers. Rothe started all her prints by sketching a simple drawing directly onto the plate with a drypoint tool. She used a rocker to develop the background, rolling and rocking it side to side and piercing the plate with tiny holes for the ink. Using a drypoint tool she further developed the fine details and figures of the drawing.

Items included views of Llangollen Bridge; and Overton Bridge, right. View of Overton Bridge, 1794 In 1795 he issued a set of four coloured mezzotints chronicling "The demise of the Ramillies" in 1782 as portrayed by Robert Dodd (artist). Engraved and published by Jukes from his shop at No.10 Howland Street. 1796 saw two nostalgic engravings, "A Visit to the Uncle" and " A Visit to the Aunt" painted by Thomas Rowlandson in 1786.

Illustrations of this novel vary from the first homosexual experience to the flagellation scene. 1906 illustration by Édouard- Henri Avril from a French edition of Fanny Hill Although editions of the book have frequently featured illustrations, many have been of poor quality.Hurwood, p. 179 An exception to this is the set of mezzotints, probably designed by the artist George Morland and engraved by his friend John Raphael Smith that accompanied one edition.

Dutch graphic artist Maurits Cornelis Escher, usually referred to as M. C. Escher, is known for his often mathematically inspired woodcuts, lithographs, and mezzotints. These feature impossible constructions, explorations of infinity, architecture and tessellations. His special way of thinking and rich graphic work has had a continuous influence in science and art, as well as permeating popular culture. His ideas have been used in fields as diverse as psychology, philosophy, logic, crystallography and topology.

Fisher published his mezzotint in November 1762, having the inscription "Reddere personae scit convenientia cuique", meaning "he knows how to give to each what is appropriate". In 1764, Reynolds requested copies of this print to give to his admirers. The print was copied and pirated, producing at least fourteen different mezzotints. One of these prints, which was sold in France in 1765, had the inscription L'Homme entre le Vice et la Vertu.

Manigault's pose is unknown, but is believed to have been taken from an English mezzotint, as was common at the time. Only once more in his career did Theus work on such a scale, producing a pair of portraits, of Barnard Elliott, Jr. and his wife, around 1766. Elements of the portrait of Mrs. Elliott – including details of her costume, jewelry, and pose – have since been shown to have been taken from a number of contemporary English mezzotints.

Robert Kipniss (born Brooklyn, New York, February 1, 1931) is an American painter and printmaker. His mature paintings, lithographs, mezzotints, and drypoints share stylistic characteristics and subject matter and typically depict trees seen close up or at varying distances in fields. Other works show one or more houses in a landscape or town setting. Some are interiors with a view toward a window or with a still life set close to one, frequently with a landscape beyond.

He stayed there for over five years, during which time he executed 115 portraits, before traveling again, this time to Europe, arriving in Amsterdam in May 1758. He settled there for a time to learn the art of making mezzotints, and was documented as a member of the Amsterdam Drawing Academy in 1758 by Jacob Otten Husly.Biography of John Greenwood in Roeland van Eynden and Adriaan van der Willigen's Geschiedenis der Vaderlandsche Schilderkunst, 1840, Vol. II, p.

She was admired and respected by the best wits of the time; John Blow and Purcell wrote difficult music for her; John Hughes, the poet, was her friend; William Congreve wrote a long irregular ode on "Mrs. Arabella Hunt singing", and after her death penned an epigram under a portrait of her sitting on a bank singing. The painting was by Godfrey Kneller. There are mezzotints by Smith (1706) and Charles Grignion the Elder; and Hawkins gives a vignette in his History.

While at first glance their work appears similar, Ilsted and Hammershøi were in fact quite different. Hammershøi’s work has an aloof austerity, in contrast to Ilsted's scenes of common life. Though sometimes Hammershøi’s colorful early pictures are reminiscent of James Tissot (1836–1902), his work is quintessentially Danish. However, Ilsted was more of a technician, and he made considerable contributions in the field of graphic arts. Ilsted’s mezzotints (sometimes printed in colour à la poupeé) were very popular and important in his day.

The technical means at the disposal of reproductive printmakers continued to develop, and many superb and sought-after prints were produced by the English mezzotinters (many of them in fact Irish) and by French printmakers in a variety of techniques.Griffiths (1996), 134–158 on English mezzotints and their collectors. French attempts to produce high quality colour prints were successful by the last part of the century, although the techniques were expensive. Prints could now be produced that closely resembled drawings in crayon or watercolours.

The son of Robert White, he was born about 1684, and instructed by his father until his death in 1703. He completed some of the plates left unfinished by the latter, and himself executed a few in the line manner; but beginning from 1712 he turned to mezzotints. A portrait of Jean-Baptiste Monnoyer, which he executed in this style from a painting by Godfrey Kneller, was much admired and brought him work. He died at his house in Bloomsbury on 27 May 1732.

Gatja Helgart Rothe (also known as G.H. Rothe; (née Helgart Riedel) (March 15, 1935 – August 3, 2007), was a German-American artist known for her printmaking, especially mezzotint. She was also a draftswoman and painter. After living and working in Europe, she briefly traveled through South America before moving to New York City in the 1970s and later, California. Her commercial success was primarily based on mezzotints and paintings commissioned and handled by galleries, dealers, and private collectors in the United States, Europe and Japan.

Failing to establish himself in London, Hoare settled in Bath, an expanding spa town popular with the wealthier classes. He obtained numerous commissions, the most important being for official portraits of social leaders of the day (including George Frideric Handel) and political men (e.g., Prime Ministers Robert Walpole and William Pitt, 1st Earl of Chatham, c.1754). There are several versions of most of these, suggesting that he had a studio, and they were further publicised by the production of mezzotints by leading engravers of the day.

Candlelit scene by Godfried Schalcken During his apprenticeship and early career Wright concentrated on portraiture. By 1762, he was an accomplished portrait artist, and his 1764 group portrait James Shuttleworth, his Wife and Daughter is acknowledged as his first true masterpiece. Benedict Nicolson suggests that Wright was influenced by the work of Thomas Frye; in particular by the 18 bust-length mezzotints which Frye completed just before his death in 1762. It was perhaps Frye's candlelight images that tempted Wright to experiment with subject pieces.

Smith was a collector of engravings, principally mezzotints, which were sold after the completion of his book in sales between 1887 and 1896. Some 300 of them, especially those by Irish printmakers, were purchased for the National Gallery of Ireland in Dublin through Sir Edward Guinness, and the British Museum bought 106.Griffiths, 139 Chaloner Smith took an interest in the financial relations between England and Ireland, and published pamphlets on the subject. Just before his death he was examined before the Royal Commission which was appointed to consider the question.

During that period he lived and worked in Dordrecht, The Hague and Middelburg and taught pupils in Dordrecht and The Hague. He travelled to England twice and assembled an important collection of paintings. He was a prolific and versatile Dutch painter, glass engraver, printmaker, collector and dealer, who produced still lifes, biblical and mythological themes, natural history studies, genre, historical and topographical works, portraits, sketches, etchings and mezzotints. He designed tapestries, painted wall-hangings and decorated objects such as fans, snuffboxes and even the glass windows of a magic lantern.

Her first mezzotints with transparencies were completed in 1972 and soon garnered a lot of attention. A good friend in New York gave her the name Gatja, which she adopted in signing most of her work. Believing that people might taker her more seriously if they assumed she was a man, she then decided to use the initials G. H. and her last name. In 1973 her husband died and her son Peter moved in with her. At the time she was designing jewelry for Tiffany’s and other jewelers.

The oil on canvas version of this subject (1981) is in Paintings, pl. 16, 40" x 36", Collection of Janet Lippmann. Piersol, 8, on the range of hues in Kipniss's lithographs of the 1970s and 1980s and how they "brought a new sensuousness and richness to his prints" while "At same time, his compositions—especially the interiors—grew in complexity, sophistication and scale." He had begun painting interiors in his early work of the 1950s, and they appear about equally in his mature paintings and lithographs, and less so in his mezzotints.

Introduced to the mezzotint engraver, John Bonnar, James became interested in a more rapid process for preparing the plate for the engraver - possibly the engineering streak in him his father noticed. He also developed an intense interest in mezzotinting and soon began his career in that art and as an engraver in general. As a mezzotinter, for over fifty years, he was possibly only excelled in his day by Samuel Cousins (1801–1887). Several of Faed's mezzotints were commissioned by the Royal Association for the Promotion of Fine Arts in Scotland.

The son of a captain in the merchant navy, Walker became a pupil of Valentine Green. Although an eminent mezzotint engraver in England, Walker emigrated to Russia in 1784, remaining there for nearly twenty years. He was invited to St. Petersburg by Empress Catherine II, who appointed him Engraver to Her Imperial Majesty, on a salary of 1,000 roubles a year. His role was to execute mezzotints after the Old Master paintings in the Imperial Collection, which were published in two folders entitled A Collection of Prints, from the Most Celebrated Pictures in the Gallery of her Imperial Majesty Catherine the Second.

This was made by working from light to dark. The rocker seems to have been invented by Prince Rupert of the Rhine, a famous cavalry commander in the English Civil War, who was the next to use the process, and took it to England. Sir Peter Lely saw the potential for using it to publicise his portraits, and encouraged a number of Dutch printmakers to come to England. Godfrey Kneller worked closely with John Smith, who is said to have lived in his house for a period; he created about 500 mezzotints, some 300 copies of portrait paintings.

Hind-head Hill c1808. Between 1807 and 1809 the painter Turner created a collection of 71 Mezzotints under the title Liber Studiorum. These were published in 1811. One of these (number 25) was of Hindhead Hill with the gibbet clearly shown: > On his return to London from Spithead in the winter of 1807 Turner was > stimulated by the grisly associations of the place to compose some > fragmentary verses, and when he made his preliminary drawing for his Liber > plate he carefully delineated the forms of the three bodies on the gallows > in allusion to the events of 1787.

Lady Lucas inherited a collection of over 3,000 prints and drawings collected by Amabel Hume-Campbell, 1st Countess de Grey and her nephew Thomas de Grey, 2nd Earl de Grey. She donated this collection to the British Museum in memory of her brother, who had died of wounds suffered as a fighter pilot during World War I. She kept another collection including items on the history of printmaking, mezzotints and stipples, which (along with the contents of Wrest Park) was later sold at auction. In the early 1920s, Lady Lucas also donated a significant collection of fossils, largely from the Isle of Wight, to the Natural History Museum.

She developed a like of desert scenery while producing sketches in Arizona and New Mexico and made a series of small Indian ink and gouache pictures to capture Reynolds' reaction to South America's arid landscapes and sunsets. In 1973, Reynolds went to Australia, Iran, New Zealand and Thailand, producing more sketches. By that time, she began a career in printmaking while in middle-age, studying under Anthony Gross at the Slade School of Fine Art. She admired Gross' engraving and painting and collected his works and found inspiration from John Atkinson Grimshaw, Caspar David Friedrich, J. M. W. Turner, Bill Brandt's black-and-white abstract photographs and Hamaguchi's large mezzotints.

When a copper plate is roughened in preparation for working on it, thousands of tiny holes are produced on the surface of the plate to hold the ink. Kipniss's preference has been for mechanically roughened plates because of their greater uniformity. Unlike many makers of mezzotints, he prefers using a burnisher rather than a scraper for reducing the depth of the holes, a process that controls the amount of ink held on the plate. The burnisher allows him freer motion and a greater range of pressure, as a pencil would, giving him the ability to create an image that looks drawn rather than machine crafted.

Walterclough Hall, Southowram from Ancient Halls in and about Halifax Comfort settled in Halifax at Swires Road, and taught art at the local Heath Grammar School, Sowerby Bridge High School and Hebden Bridge Grammar School. He joined the Halifax Art Society, and developed some skill with pen and ink sketches, and mezzotints. The Halifax Evening Courier published two books of his sketches, Sketches of Old Halifax in 1912 and Ancient Halls in and about Halifax in 1913, and also A Spring-Time Saunter: Round and About Bronte Land by Whiteley Turner in 1913 which he illustrated. Comfort died in 1935 aged 71 at the Royal Halifax Infirmary.

William Meriton Eaton, 2nd Baron Cheylesmore (15 January 1843 – 10 July 1902) 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. As his elder brother had predeceased him, he became 2nd Baron Cheylesmore, which is pronounced "Chylsmore", in 1891 on the death of his father Henry William Eaton, 1st Baron Cheylesmore (1816–1891).

Spare attended Maidstone College of Art (1971–74) (now the University for the Creative Arts) where he studied painting under Fred Cuming. On leaving art college, Spare honed his technical skills at Thomas Ross & Son of Putney (1974–77), where he was involved in printing George Stubbs prints, which were sold through the Tate Gallery, and the renovation of fine Turner aquatint plates, which were exhibited at the Royal Academy of Arts Turner Bi-centenary Exhibition. Spare also printed original plates from masters including Hogarth, Cruikshank, Rowlandson, Gillray, Landseer and mezzotints by Martin. A master printmaker, Spare has editioned work for many contemporary artists, including David Hockney, Robert Ryman, Francesco Clemente, Donald Sultan, Jim Dine and Keith Haring.

The List of graphic artists in the Web Gallery of Art is a list of the named artists in the Web Gallery of Art (WGA) whose works there comprise drawings, woodcuts, etchings, engravings, mezzotints, lithographs, and watercolours. The online collection contains roughly 34,000 images by 4,000 artists, but only named artists with works labelled "graphics" in the database are listed alphabetically here. The artist's name is followed by a title of one of their graphics works and its location, which is hosted on the WGA website. For artists with more than one work in the WGA collection, or for works by unnamed or unattributed artists, see the Web Gallery of Art website or the corresponding Wikimedia Commons category.

Although he has made a number of paintings, McClintock is best known for his prints, which range from lithographs to drypoint etchings and mezzotints. Highly abstract, with an atmospheric use of color, they yet offer "intimations of landscape". His work was included the Museum of Modern Art (New York)'s 1954 survey, "American Prints of the 20th Century," at which time he was credited, along with Will Barnet and Ralston Crawford, with helping to bring color lithography in America to a par with work being done in Europe. His work is in the collections of the Whitney Museum of American Art, the Museum of Modern Art (New York), and the Library of Congress, among others.

His etchings and mezzotints, which are represented by specimens in the print-room of the British Museum, aim too much at a full pictorial effect, instead of observing the restrictions of graphic art. As a painter he is represented in the Walker Art Gallery at Liverpool. He also exhibited at the Society of British Artists which he was elected to in 1884, the Dudley Gallery, the New Gallery, the Royal Institute of Oil Painters and Royal Institute of Painters in Water Colours, the Royal Society of Artists in Birmingham, Glasgow Institute of the Fine Arts, the Royal Scottish Academy, and Manchester City Art Gallery. Finnie also exhibited at the Salon Artistes Français and received a commendation in 1896.

In 1978 Rothe traveled to Los Angeles to visit her lover Maurie Symonds, who owned several galleries in California showing her work. Rothe became fascinated with Carmel-by-the-Sea, California and decided to move there, buying a house by in Carmel-by-the-Sea, although she kept a storage space and a studio in New York. The open and rural California landscapes influenced her new mezzotints, in which she included mountains, horses and other scenes. In 1982 her son Peter bought her contract from Hammer Galleries, which no longer wanted to carry prints. The scandal caused by Salvador Dalí’s pre-signed papers had adversely affected the entire graphics industry, devaluing the worth of copies in editions.

This made the lines on the plates much more durable, and in particular the fragile "burr" thrown up by the drypoint process lasted much better than with copper alone, and so a greater (if still small) number of rich, burred, impressions could be produced. Francis Seymour Haden and his brother-in-law, the American James McNeill Whistler were among the first to exploit this, and drypoint became a more popular technique than it had been since the 15th century, still often combined with conventional etching. However, steel-facing could lead to a loss of quality.Mayor, 125; Griffiths, 71, 76, 154-155 It is not to be confused with steel engraving on wholly iron plates, popular in the same period but almost always for mezzotints and commercial printing.

Escher was interested enough in Hieronymus Bosch's 1500 triptych The Garden of Earthly Delights to re-create part of its right-hand panel, Hell, as a lithograph in 1935. He reused the figure of a Mediaeval woman in a two-pointed headdress and a long gown in his lithograph Belvedere in 1958; the image is, like many of his other "extraordinary invented places", peopled with "jesters, knaves, and contemplators". Thus, Escher not only was interested in possible or impossible geometry but was, in his own words, a "reality enthusiast"; he combined "formal astonishment with a vivid and idiosyncratic vision". Escher worked primarily in the media of lithographs and woodcuts, although the few mezzotints he made are considered to be masterpieces of the technique.

They could then be hung in the small blank spaces of the elaborately decorated paneling of residences.Alpheus Hyatt Mayor, Prints & People: A Social History of Printed Pictures, Metropolitan Museum of Art (New York, N.Y.), 1 January 1971, p. 589 A group of soldiers, in crayon manner technique by Gilles Demarteau after Charles André van Loo In England the technique was used for "furniture prints" with a similar purpose, and became very popular, though regarded with disdain by producers of the portrait mezzotints that dominated the English portrait print market. Stipple competed with mezzotint as a tonal method of printmaking, and while it lacked the rich depth of tone of mezzotint, it had the great advantage that far more impressions could be taken from a plate.

Rupert produced some stylish mezzotints himself, and through him, after his return to England with the English Restoration in 1660, the invention became known there, which was to be the main home of the technique. Rupert described it to John Evelyn, who published it (in very enigmatic terms) for the first time in 1662, crediting Rupert with the invention: " Of the new way of Engraving, or Mezzo Tinto, Invented, and communicated by his Highnesse Prince RUPERT, Count Palatine of Rhyne, &c.;" However Rupert probably did invent the "rocker", a wide curved tool with teeth, used to roughen a whole plate, which was an essential tool in the developed technique. Rupert's artistic assistant or tutor Wallerant Vaillant (1623–77) was the first to adopt the process commercially, in Amsterdam in the 1660s.

His Falstaff and Mistress Ford is in the Tate Gallery. His early engravings include The Frightened Horse, after George Stubbs; The Entombment, after Dietrich; The Death of Nelson, after Samuel Drummond, and a set of the Raphael cartoons in outline. His mezzotints included The Trial of Queen Caroline, after George Henry Harlow; a portrait of the William Pitt, after John Hoppner; a portrait of Margaret, Lady Dundas, after Thomas Lawrence; a portrait of Miss Siddons, again after Lawrence, and a print after a self- portrait by Sir Joshua Reynolds. There are also portraits of the engraver George Cook; the publisher John Bell; the actors Edmund Kean, Charles Young (as Hamlet), William Dowton and John Liston (the latter as Paul Pry) and the actresses Lucia Elizabeth Vestris and Julia Glover.

British mezzotint collecting was a great craze from about 1760 to the Great Crash of 1929, also spreading to America. The main area of collecting was British portraits; hit oil paintings from the Royal Academy Summer Exhibition were routinely, and profitably, reproduced in mezzotint throughout this period, and other mezzotinters reproduced older portraits of historical figures, or if necessary, made them up. The favourite period to collect was roughly from 1750 to 1820, the great period of the British portrait. There were two basic styles of collection: some concentrated on making a complete collection of material within a certain scope, while others aimed at perfect condition and quality (which declines in mezzotints after a relatively small number of impressions are taken from a plate), and in collecting the many "proof states" which artists and printers had obligingly provided for them from early on.

Certain stylistic hallmarks make Partridge's work easy to distinguish from that of his contemporaries. Chief among them is the fact that nearly all of his paintings are inscribed with the phrase "Aetatis suae" or some variant thereof, followed by the sitter's age and the date of completion of the painting; it was this peculiarity that led to the artist's christening as the "Aetatis Suae Limner", while the epithet "Schuyler Limner" came from the same painter's association with the Schuyler family. Partridge's palette, too, was distinctive, tending towards brown, blue, black, and rust. The figures in his portraits are stiffly formal, typical of many of the untrained American artists following in the footsteps of Godfrey Kneller; many of his paintings derive their compositions from English mezzotints of the era, a practice also typical of many of his contemporaries.

With his acquisition of Japanese prints and Chinese porcelain, Alfred Pope was following a fashionable trend of the last decades of the nineteenth century when Asian objects became popular adornments in American homes. Because of their sympathetic arrangement with paintings and decorative objects on mantelpieces, or their isolated placement on occasional tables, Chinese porcelains played a prominent role in the decoration of the family's home. In addition, Pope acquired mainstream paintings in the officially sanctioned academic style of Pierre Puvis de Chavannes and Eugène Carrière as well as numerous decorative arts objects including bronze sculpture, Asian and European porcelains, and Asian, American and European prints - etchings, mezzotints and woodblocks. Alfred Pope's interest in Impressionist paintings distinguished him within a select group of connoisseurs at the turn of the twentieth century, making a radical departure from the traditional tastes of many of his peers who acquired only Old Master paintings and drawings.

Having studied at the Stourbridge School of Art in his early years he joined the South Kensington School of Art (the first name of the current Royal College of Art) in 1883. Short also studied at the life class under Professor Fred Brown at the Westminster School of Art, and for a short time at the Schools of the Royal Institute of Painters in Water Colours. Diana and Endymion, etching and mezzotint, printed in brown ink, 1891, after George Frederick Watts His real life-work now became that of an original and translator engraver. He was a keen student of the works of JMW Turner; and his etchings and mezzotints from Turner's Liber Studiorum (1885 seq.), examples of painstaking devotion and skill, were among his earliest successes, combining sympathetic study of the originals with a full knowledge of the resources of engraving and unwearied patience.

His Dictionary of National Biography entry states that "He portrayed his sitters with integrity in an honest natural style, thereby consolidating a recognizably Scottish tradition of portraiture". Martin exhibited at the Incorporated Society of Artists from 1765 to 1777 (being elected its treasurer, vice-president, and president between 1772 and 1777), at the Free Society of Artists in 1767 and at the Royal Academy in 1779 and 1790. He is listed in 1766 as a member of the Society for the Encouragement of the Arts, Manufactures and Commerce, as "History Painter, living in Soho Square".A list of the Society for the Encouragement of Arts, Manufactures and Commerce. London, 1766. ESTC T062344 Benjamin Franklin by David Martin – a portrait now in the White House As well as producing his own paintings, Martin copied them himself in highly-praised mezzotints, such as those of Lady Frances Manners (1772), impressions of which may be seen in the British Museum, under catalogue entries 1887 0406 87 and 1887 0406 142.

He continued what had become a routine, painting by day and working at the Manhattan General Post Office during the evenings; by 1964, he was able to earn his living creating paintings.Chronology, in Intaglios, 169–71. Since 1965 Kipniss has had more than twenty-two museum and other institutional one-man exhibitions across the United States and abroad. His first institutional one-man exhibition was in 1965 at the Allen R. Hite Institute of the University of Louisville in Kentucky.For chronologies on Kipniss's major museum and other institutional exhibitions, see the accompanying lists and Intaglios, 179–83; Piersol, 103–06; Paintings, 144–48. The most recent of his several retrospectives, a five-decade print retrospective comprising eighty-six lithographs, mezzotints, and drypoints from the James F. White Collection, was shown at the New Orleans Museum of Art, New Orleans, Louisiana, in 2006 at the time of a celebratory reopening of the museum six months after the devastation of Hurricane Katrina.prnewswire.com/news-releases/new-orleans-museum-to-re- open-with-a- salute-to-the-arts-55233227.html. Bullard, Foreword, in Paintings, ix–x. In 1980 a large solo show of paintings and prints took place at La Tertulia Museum in Cali, Colombia.