Tag Archives: etching

This image is owned by The Baltimore Museum of Art; permission to reproduce this work of art must be granted in writing. Third party copyright may also be involved.

Top 6 Prints, Drawings, Photographs at The Baltimore Museum of Art

BMA Curatorial Assistant Morgan Dowty took over our Instagram feed this week to showcase some of her favorite images in our renowned Prints, Drawings & Photographs Collection.

In case you missed it, here’s a roundup of her top six picks from the BMA’s collection of 65,000 works on paper:

  1. Morgan Dowty, BMA Curatorial Assistant, signing on from the Department of Prints, Drawings & Photographs to bring you some of my favorite works on paper this week. With 65,000+ works on paper in the collection, there are plenty to choose from! I’ll begin with a favorite suite of engravings by Wenceslaus Hollar, “Diversa insectorum aligerorum,” c. 1646.

[Wenceslaus Hollar (Bohemian, 1607-1677) “Diversae insectorum aligerorum,” c. 1646. Eight etchings. Each approximately: 115 × 180 mm. (4 1/2 × 7 1/16 in.) Garrett Collection. BMA 1946.112.2413-20]

2. Tantalus, Icarus, Phaeton, and Ixion are four mythological figures whose hubris caused them to fall from Mount Olympia. In this suite of the “Four Disgracers,” Hendrick Golzius, master engraver of the 16th century, captures the falling body from all angles.

[Hendrick Goltzius (Dutch, 1558-1617) after Cornelis Cornelisz. van Haarlem (Dutch, 1562-1638). “The Four Disgracers,”1588. Four engravings. Gift of Ruth Cole Kainen, in Honor of Jay McKean Fisher, Senior Curator of Prints, Drawings and Photographs, BMA 2005.47 / Gift of James and Leslie Billet, Baltimore, BMA 1983.11 / Blanche Adler Memorial Fund, BMA 2013.357 / Garrett Collection, BMA 1984.81.137]

3. This album by Charles Norman Sladen is a new one of my favorites. On each page, Sladen includes photographs from a family vacation in 1916 to Great Chebeague Island, which he expands through imaginative pen and ink drawings. Scroll right to see some detail shots!

[Charles Norman Sladen (American, 1858-1949). “Great Chebeague Island, Maine,” 1916. Album of black ink drawings and gelatin silver print collages, bound with leather and fabric cover. The William G. Baker, Jr. Memorial Fund. BMA 2001.289]

4. In this self-portrait, Käthe Kollwitz captures her own likeness in just a few precise marks.

This image is owned by The Baltimore Museum of Art; permission to reproduce this work of art must be granted in writing. Third party copyright may also be involved.

This image is owned by The Baltimore Museum of Art; permission to reproduce this work of art must be granted in writing. Third party copyright may also be involved.

[Käthe Kollwitz (German, 1867-1945). “Self-portrait,” 1924. Woodcut. Blanche Adler Memorial Fund, BMA 1956.176]

5. Printmakers often pull working proofs, or test prints, as they develop an image to track their progress. Swipe to compare these two states of Felix Bracquemond’s portrait of the French literary critic Edmond de Goncourt.

[Félix Bracquemond (French, 1833-1914). “Edmond de Goncourt,” 1879-1882. Etching. Purchased as the gift of Mrs. Fenwick Keyser, Reisterstown, Maryland, BMA 1997.19 / Purchased as the gift of the Print & Drawing Society, BMA 1983.76]

6. It’s been a treat to share a few of my favorites this week! If you’re interested in exploring more works on paper, consider making an appointment to visit the Samuel H. Kress Foundation Study Room of Prints, Drawings & Photographs by emailing PDP@artbma.org.

[Arthur Wesley Dow (American, 1857-1922) “Group of Buildings, Dow’s Compound, Ipswich,” /”Garden, Dow’s Home, Ipswich,” / “City Island, New York,” c. 1885-1897. Three cyanotypes. Gift of Susan Ehrens, Oakland, California, in Honor of Jay McKean Fisher, BMA 2015.343-345]

Which image is your favorite? Follow us on Instagram at @BaltimoreMuseumOfArt.

BMA Voices: “Views from the Banks of the Scheldt”

Lepic Install shot

Installation of Ludovic Napoléon Lépic’s “Views from the Banks of the Scheldt”, in the exhibition Print by Print: Series from Dürer to Lichtenstein, 2012.

Rena Hoisington, Curator & Dept Head of Prints, Drawings & Photographs

In 2012 I had the privilege of working with ten undergraduates from Johns Hopkins University and the Maryland Institute College of Art to organize the exhibition Print by Print: Series from Dürer to Lichtenstein. Out of the 29 series of prints selected for inclusion in the show, Ludovic Napoléon Lépic’s Views from the Banks of the Scheldt was among the students’ favorites. When this series was installed in the third gallery of the exhibition, the 20 prints, grouped in two horizontal rows, spanned a wall more than 25 feet in length.

All 20 of the prints in this series were created from the same etched copper plate depicting a tranquil river landscape. Only one impression, however, was printed by means of pure etching—that is, the artist worked ink into the acid-bitten lines, then wiped the surface of the plate clean before printing. For the other nineteen impressions, the artist worked directly on the plate’s surface, employing a range of inking and wiping processes to recreate the ever-changing effects of weather, various times of day, diverse topography, and the occasional dramatic event.

Look closely at the following images and you’ll see that certain compositional elements remain constant: the signal post and man in the foreground, the windmills and ships in the background. Ludovic Napoléon Lépic referred to this technique as “l’eau-forte mobile” or “variable etching,” though today it is usually referred to as monoprint. In his 1876 publication How I Became an Etcher, Lépic claims to have printed 85 variations of Views from the Banks of the Scheldt, but aside from the unique group of prints in the BMA’s collection, only one other impression of this composition is known.

The Print by Print exhibition provided the first opportunity for the BMA to exhibit this series in its entirety, and it was indeed revelatory and awe-inspiring to see the range of effects Lépic was able to achieve.

Ludovic Napoléon Lépic (French, 1839‑1889). View from the Banks of the Scheldt. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Purchase with exchange funds from Garrett Collection, BMA 1979.201

Ludovic Napoléon Lépic (French, 1839‑1889). View from the Banks of the Scheldt. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Purchase with exchange funds from Garrett Collection, BMA 1979.201

Ludovic Napoléon Lépic (French, 1839‑1889). Sunrise. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.9

Ludovic Napoléon Lépic (French, 1839‑1889). Sunrise. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.9

Ludovic Napoléon Lépic (French, 1839‑1889). Rain. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.10

Ludovic Napoléon Lépic (French, 1839‑1889). Rain. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.10

Ludovic Napoléon Lépic (French, 1839‑1889). Willows. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.11

Ludovic Napoléon Lépic (French, 1839‑1889). Willows. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.11

Ludovic Napoléon Lépic (French, 1839‑1889). The Moon through the Willows. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.12

Ludovic Napoléon Lépic (French, 1839‑1889). The Moon through the Willows. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.12

Ludovic Napoléon Lépic (French, 1839‑1889). Night. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.13

Ludovic Napoléon Lépic (French, 1839‑1889). Night. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.13

Ludovic Napoléon Lépic (French, 1839‑1889). Dawn. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.14

Ludovic Napoléon Lépic (French, 1839‑1889). Dawn. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.14

Ludovic Napoléon Lépic (French, 1839‑1889). Snow in the Fog. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.15

Ludovic Napoléon Lépic (French, 1839‑1889). Snow in the Fog. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.15

Ludovic Napoléon Lépic (French, 1839‑1889). A Shower. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.16

Ludovic Napoléon Lépic (French, 1839‑1889). A Shower. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.16

Ludovic Napoléon Lépic (French, 1839‑1889). After the Storm. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.17

Ludovic Napoléon Lépic (French, 1839‑1889). After the Storm. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.17

Ludovic Napoléon Lépic (French, 1839‑1889). Calm. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.18

Ludovic Napoléon Lépic (French, 1839‑1889). Calm. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.18

Ludovic Napoléon Lépic (French, 1839‑1889). Storm. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.19

Ludovic Napoléon Lépic (French, 1839‑1889). Storm. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.19

Ludovic Napoléon Lépic (French, 1839‑1889). Evening. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.20

Ludovic Napoléon Lépic (French, 1839‑1889). Evening. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.20

Ludovic Napoléon Lépic (French, 1839‑1889). Trunk of a Chestnut Tree. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.21

Ludovic Napoléon Lépic (French, 1839‑1889). Trunk of a Chestnut Tree. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.21

Ludovic Napoléon Lépic (French, 1839‑1889). Snow. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.22

Ludovic Napoléon Lépic (French, 1839‑1889). Snow. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.22

Ludovic Napoléon Lépic (French, 1839‑1889). Moonlight. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.23

Ludovic Napoléon Lépic (French, 1839‑1889). Moonlight. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.23

Ludovic Napoléon Lépic (French, 1839‑1889). Moonrise. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.24

Ludovic Napoléon Lépic (French, 1839‑1889). Moonrise. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.24

Ludovic Napoléon Lépic (French, 1839‑1889). Willows and Poplars. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.25

Ludovic Napoléon Lépic (French, 1839‑1889). Willows and Poplars. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. he Baltimore Museum of Art: Garrett Collection, BMA 1984.81.25

Ludovic Napoléon Lépic (French, 1839‑1889). The Mill Fire. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.33

Ludovic Napoléon Lépic (French, 1839‑1889). The Mill Fire. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.33

Ludovic Napoléon Lépic (French, 1839‑1889). Snow. c. 1870‑1876. From the series "Views from the Banks of the Scheldt". The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.34

Ludovic Napoléon Lépic (French, 1839‑1889). Snow. c. 1870‑1876. From the series “Views from the Banks of the Scheldt”. The Baltimore Museum of Art: Garrett Collection, BMA 1984.81.34

BMA Voices is an insider’s exploration of The Baltimore Museum of Art collection through the eyes of its curators, conservators, and registrars. Featuring a new object every day during the BMA’s 100 Day Celebration, the project will highlight some favorite, amusing, unusual, and obscure objects. 

 

 

BMA Voices: Tauba Auerbach’s wedding of process, technique, and concept

Tauba Auerbach and Paulson Bott Press. Plate Distortion II. 2011. The Baltimore Museum of Art: Print, Drawing & Photograph Society Fund, with proceeds derived from the 2012 Contemporary Print Fair, BMA 2012.198. Courtesy of the artist and Paulson Bott Press

Tauba Auerbach and Paulson Bott Press. Plate Distortion II. 2011. The Baltimore Museum of Art: Print, Drawing & Photograph Society Fund, with proceeds derived from the 2012 Contemporary Print Fair, BMA 2012.198. Courtesy of the artist and Paulson Bott Press

Benjamin Levy, Prints, Drawings & Photographs Curatorial Assistant, speaks on the wedding of process and technique with the conceptual basis of Tauba Auerbach’s work.

BMA Voices is an insider’s exploration of The Baltimore Museum of Art collection through the eyes of its curators, conservators, and registrars. Featuring a new object every day during the BMA’s 100 Day Celebration, the project will highlight some favorite, amusing, unusual, and obscure objects.