Amrin Landeck’s style might be classified in the same general family as the styles of Martin Lewis and Stow Wengenroth. Like those printmakers, his scenes are full of painstaking detail, yet the textures are different. Take a look at today’s print, “Approaching Storm, Manhattan”. The storm clouds not only have varying density of blackness, but the underlying texture is of many very fine lines. The brickwork on the tallest chimney is exquisitely detailed. The technique used was drypoint, a form of engraving using a very fine stylus, and generating abundant texture because the feathery copper residue displaced by the stylus remained attached to the side of the incision made by the stylus. This residue wears off quickly with multiple impressions, such that drypoint prints are often produced in very small editions, and differences between early and late impressions can often be quite notable. I am displaying an early and a late impression of this print, and you can see quite a different in the fine texture of both the storm clouds and the brickwork of the chimney.
Approaching storm, Manhattan (drypoint, 1937)
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