Поверхностный тон

В печатном виде , тонусной поверхности или поверхностном тоне , ^{[ 1 ]} производится намеренно или случайным образом не вытирать все чернила с поверхности печатной пластины, так что части изображения имеют легкий тон из пленки из оставшихся чернил. Тон в печатном порядке, означающий области непрерывного цвета, в отличие от линейных отметок, сделанных гравированной или нарисованной линией. Техника может использоваться со всеми методами печати IntAglio , из которых наиболее важными являются гравировка , травление , дрипочка , мццотинь и aquatint . Это требует индивидуального внимания к прессе до того, как каждое впечатление будет напечатано, и в основном используется художниками, которые печатают свои собственные тарелки, такие как Рембрандт , «Первый мастер этого искусства», которые использовали их. ^{[ 2 ]}

Перед изобретением методов тонального интэглио, таких как Mezzotint и Aquatint Surface Tone, был действительно единственным способом добавить тональные эффекты, но метод иногда продолжал использоваться с новыми тональными методами, особенно в рефляции травления , чем начиналось примерно в 1850 году, « Наиболее видимой характеристикой [которая] ... была одержимостью поверхностным тоном ". Возможно, это было под влиянием Рембрандта, чья репутация к этому моменту достигла полной высоты. ^{[ 3 ]}

According to Antony Griffiths and others, the technique should be distinguished from accidental plate tone caused by slight imperfections or scratches in a new copper printing plate, which hold the ink and show in the print. These generally disappear after a few impressions are printed, and are taken as a sign that an impression is a very early one.^[4] However some scholars use the terms as synonyms.^[5]

Especially in the case of Rembrandt, the degree of surface tone used can vary greatly between impressions,^[6] and it is often only discussed in works such as catalogues which cover specific impressions, and ignored in those discussing a print in a general way, as other impressions may lack it. Especially if heavy, it also tends to reproduce badly in book illustrations, smothering detail, and is often avoided for that reason. A note at the start of the most widely available book reproducing all Rembrandt's prints explains that, where possible, impressions without surface tone were selected for this reason.^[7]

Technique

The intaglio printmaking techniques all print images from ink held in the lines or other recesses made by the artist in the printing plate. For each impression, ink is spread over the whole plate, worked well in, and then the flat surface is normally wiped carefully clean to remove all ink except that in the recesses, using a form of squeegee. The print is then run through a high-pressure press with a piece of slightly damp paper, forcing the soft paper down into the recesses to collect the ink there.^[8]

To create surface tone, parts of the image are selectively not fully cleaned, leaving a thin film of ink on the surface of the plate, which prints as a "pale and attractive bloom".^[9] In practice the plate was perhaps often fully cleaned, and then a cloth dirty with ink used to re-add the film. Sources often distinguish degrees of tone, as "heavy" or "light".^[10] Surface tone could also occur by accident, "due to the incompetence of the printer".^[11]

Retroussage, sometimes "dragging out", was a related technique involving working along the lines in an inked and wiped plate with a piece of muslin to pull out a little of the ink, so giving a softer or blurry effect to the sides of the line. The effect could be similar to the short-lived "burr" on a drypoint.^[12]

Leading exponents

The technique became very widely used, but a few important artists who made heavy use of it should be mentioned. Hercules Seghers was a highly experimental printmaker in many respects. He was not very famous in his lifetime, but was keenly collected by Rembrandt, who was "probably inspired" to use surface tone by his example.^[13] Rembrandt used it in his late prints, from about 1647 onwards, and only in some impressions. It was one of a number of ways, notably including printing on different papers, and vellum, and using the burr from drypoint, that he used to vary the appearance of his etchings.^[14] In several impressions of his Flight into Egypt: A Night Piece (B. 53) surface tone covers most of the plate.^[15]

Francisco Goya's mature prints were mostly in the tonal technique of aquatint, in which he became very skilled in producing dramatic contrasts,^[16] fully satisfying his needs for tonal effects. Reflecting the mid-19th century taste for a "rich overall tone", when his series The Disasters of War (1810–20) was given its first real edition in 1863 by the Real Academia de Bellas Artes de San Fernando, they made the "disastrous" choice to make considerable use of surface tone, which is not seen in the few early impressions made by Goya himself. Instead of the "luminosity and delicacy" of these, the later editions "provide a dulled and distorted reflection of the artist's intentions", according to Juliet Wilson Bareau.^[17]

James Whistler was heavily influenced as a printmaker by Rembrandt, and in his "middle period" made great use of surface tone, before reducing it in his later work.^[18]

Rembrandt, Jupiter and Antiope, the smaller plate, etching, c. 1631
Félix Bracquemond, La Lac du Bois de Boulogne, 1858
Edgar Alfred Baes, Un jour de fête au quartier St. André à Anvers, drypoint, 1873

Notes

^ Griffiths has "surface-tone on p. 34, but "surface tone" in his glossary (p. 154). The British Museum online catalogue uses the latter, perhaps not exclusively, as does Gascoigne and most sources.
^ Griffiths, 34 (quoted), 154
^ Griffiths, 35; Gascoigne, 10d
^ Griffiths, 148; Gascoigne, 107
^ White, eg cat. #37, #79; Von Sonnenburg, 204, 219; Orenstein
^ White, #61 (The Three Crosses), #117–118, and Woman with an Arrow (B, 202) #140–147; this is also Filedt Kok, 120
^ Schwartz, 6
^ Griffiths, 31–34; Gascoigne, 1b
^ Gascoigne, 10d
^ White, 18
^ Griffiths, 154
^ Griffiths, 25, 152
^ White, 6
^ White, 6–7, 10, (#10); 11 (#12)
^ White, 13
^ Wilson Bareau, 12, 32
^ Wilson Bareau, 49
^ Hardie, 20; Von Sonnenburg, 213

References

Filedt Kok, Jan Piet, Rembrandt, etchings & drawings in the Rembrandt House: A catalogue, 1972, Rembrandt House / Gary Schwartz, ISBN 9061790034
Gascoigne, Bamber. How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet, 1986 (2nd Edition, 2004), Thames & Hudson, with sections not page-numbers ISBN 050023454X
Гриффитс, Энтони , Печать и печати , Британская музейная пресса (в Великобритании), 2 -е изд, 1996 ISBN 071412608X
Харди, Мартин, Британская школа травления 1921 года, Клуб печатных коллекторов (Лондон), онлайн -текст
Хинтергинг, Эрик, Луидтен, Гер, Роял-Киш, Мартин, Рембрандт Прайс , 2000, Британский музейный музей, Амстердам, ISBN 071412625X
Earenstein, Nadine. «Рембрандт Ван Риджн (1606–1669): принты.», 2004, в графике Heilbrunn по истории искусства. Нью -Йорк: Музей искусств Метрополитен, онлайн
Schwartz, Gary, Полное офорта Rembrandt , 1994, Dover, ISBN 0486281817
Фон Сонненбург, Хубертус, Рембрандт/Не Рембрандт в Метрополитен-музее искусств: живописи, рисунки и принты: арт-гисторические перспективы , тома 1–2, 219 (см. Также стр. 204), 1995, ISBN 0870997548 , 9780870997549, Google Books
Уайт, Кристофер , Поздние оформы Рембрандта , 1969, Британский музей/Лунд Хамфрис, Лондон
Wilson Bareau, Juliet , Goya's Prints, The Tomás Harris Collection в Британском музее , 1981, Публикации Британского музея, ISBN ISBN 0714107891

[1] Griffiths has "surface-tone on p. 34, but "surface tone" in his glossary (p. 154). The British Museum online catalogue uses the latter, perhaps not exclusively, as does Gascoigne and most sources.

[2] Griffiths, 34 (quoted), 154

[3] Griffiths, 35; Gascoigne, 10d

[4] Griffiths, 148; Gascoigne, 107

[5] White, eg cat. #37, #79; Von Sonnenburg, 204, 219; Orenstein

[6] White, #61 (The Three Crosses), #117–118, and Woman with an Arrow (B, 202) #140–147; this is also Filedt Kok, 120

[7] Schwartz, 6

[8] Griffiths, 31–34; Gascoigne, 1b

[9] Gascoigne, 10d

[10] White, 18

[11] Griffiths, 154

[12] Griffiths, 25, 152

[13] White, 6

[14] White, 6–7, 10, (#10); 11 (#12)

[15] White, 13

[16] Wilson Bareau, 12, 32

[17] Wilson Bareau, 49

[18] Hardie, 20; Von Sonnenburg, 213

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