Printmaking - 19th Century, Techniques, Processes

printmaking

Table of Contents

Introduction
Major techniques of printmaking
- Relief processes
  - Woodcut
  - Colour woodcut
  - Wood engraving
  - Linoleum cut
  - Metal cut
  - Cardboard (paper) cut
  - Relief etching
  - Rubbing
  - Dotted print (criblé)
- Intaglio processes
  - Engraving
  - Drypoint
  - Mezzotint
  - Crayon manner and stipple engraving
  - Etching
    - Hard-ground etching
    - Soft-ground etching
    - Relief etching
    - Aquatint
    - Lift-ground etching (sugar-lift aquatint)
    - Acids and the etching process
  - Metal graphic
  - Printing by intaglio processes
    - Intaglio colour printing
    - Stencilled colours with an intaglio plate
    - Intaglio and surface colour with relief etching
- Surface-printing processes
  - Lithography
  - Stencil processes
- Special techniques
  - Monoprint (monotype)
  - Cliché-verre
  - The cellocut
  - Collagraphy
  - Plaster print
- Process prints
  - Linecut
  - Halftone cut or plate
  - Rotogravure
  - Offset lithography
- Contemporary experimentation
- Mounting and care of prints
History of printmaking
- Printmaking in the 15th century
  - Germany
  - Italy
  - Other countries
    - The Netherlands and Burgundy
    - France
- Printmaking in the 16th century
  - Germany
  - Other countries
    - The Netherlands and Flanders
    - Italy
    - France
  - Trends in the late 16th century
- Printmaking in the 17th century
  - Portrait engraving
    - France
    - Germany
    - The Netherlands
    - England
  - Flemish printmaking
  - European etching
    - Italy
    - The Netherlands
  - Japanese ukiyo-e prints
- Printmaking in the 18th century
  - Italy
  - England
  - Spain
  - France
  - Japan
- Printmaking in the 19th century
  - France
  - Japan
  - Other countries
- Printmaking in the 20th century
  - France
  - Germany
  - Other countries

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The 19th century was a turbulent period of art, one aesthetic revolution following the other. French domination of 19th-century art is comparable to northern domination of 15th-century printmaking. Few graphic artists of importance worked outside France. The great French painter Jean-Auguste-Dominique Ingres made only a few etchings, mainly portraits; but, as demonstrated by the lithograph L’Odalisque (1825), his draftsmanship was incomparable. Eugène Delacroix left a much more extensive graphic oeuvre: 24 etchings and 131 lithographs. Both in subject matter and style, Delacroix’s prints are eloquent expressions of the Romantic spirit. In his tragically short life, Théodore Géricault made a series ...(100 of 20091 words)

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