mezzotint

Still lifes–with deep meaning? Mario Avati: week 9, day 4 (Tuesday)

by

Mario Avati (1921-2009) studied many techniques of printmaking in Paris, and in the early portion of his career, mostly did etchings. Around 10 years into his graphic arts career, he began to focus on mezzotint, a much less commonly used printmaking technique which allows grays to be created organically rather than by tricks such as stippling. Mezzotint is a black-to-white technique–that is, the background is black (completely inked) and white is created by removing material from the surface of the plate. Not many artists have mastered the mezzotint, but Avati was one of the most highly skilled practitioners.

The vast majority of Avati’s pieces are color mezzotint still lifes (in French, nature mortes–“dead nature”). The technique is exquisite, and the contrast between the colors and the black background gives these pieces a very different feel than most visual art (with light-colored backgrounds). Some of the still lifes suggest the possibility of a hidden meaning, an allegory or symbolism–and others just appear to be exquisite renderings of everyday objects. I’m sure I am missing much of the symbolism, and would love to be enlightened if anyone figures it out. In L’as de pique (Ace of spades), the red diamonds “falling” off the back of the card is undoubtedly meant to symbolize something, though I’m damned if I can figure out what. Les cafetieres (the coffepots) doesn’t even suggest what in it might be symbolic.

Les cafetieres (mezzotint, 1971)

L’as de pique (mezzotint, 1980)

Escher was a printmaker! Week 5, day 3 (Monday)

by

Many people are familiar with the work of MC Escher, who created fantastic (as in fantasy) pictures including impossible objects, tessellations, reflections, Mobius strips, and more. Many of these are of intellectual interest, but some are artistically interesting or attractive as well. I did not realize till recently that Escher’s works were not drawings but prints! He worked with several print media, but lithographs were the most common, with woodcuts second. In the early part of his career, he did fairly prosaic prints of buildings, places and people. It was starting in his 30s that the more interesting stuff began to emerge.

I plan on sharing some of Escher’s more visually interesting and attractive works here, starting today with a mezzotint of a dewdrop on a leaf.

Dewdrop (1948)