The Great Age of English Mezzotints - Hood Museum of Art

More documents

Recommendations

Info

fig. 2. James Watson after Anthony van Dyck, Paulus Pontius, about 1764, mezzotint. Purchasedthrough the Guernsey Center Moore 1904 Memorial Fund; pr.987.69.4
Production, Distribution & Marketingof English Mezzotints in the Eighteenth Centuryt. barton thurber, curator of european artIn the century before the advent of lithographic and photomechanical reproductions inthe early 1800s, mezzotints were favored for publicizing English paintings. Comparedto traditional printmaking techniques, such as engraving and etching, this later tonalmethod was better able to represent the painterly qualities of light and shadow. Althoughgenerations of artists had used prints to promote their designs, the establishment ofregular public exhibitions in London in the second half of the eighteenth century significantlyincreased popular demand for inexpensive and widely available editions of fashionable pictures.Artists and collectors were equally attracted to the dramatic appearance of mezzotints.One particular example highlighted the appeal of the medium. Soon after Anthony VanDyck’s (1599–1641) painting of Paulus Pontius (fig. 3) arrived in England following its purchasein Amsterdam in 1763, the portrait was rendered into a magnificent mezzotint (fig. 2). It wasone of the first prints that James Watson (1739/40–1790) had independently published soonafter moving to London from his native Ireland to work for and train with his fellow countrymanand printmaker James McArdell (about1729–1765). Watson, whose prints were characterizedby a high degree of finish, quicklyestablished a reputation as a well-regarded andtalented artist. His mezzotint after Van Dyck’spainting was an extraordinary display of thequalities of a technique that had “introduced asoftness and delicacy before unknown inprints” (Chelsum, A History, 1786, p. 4). It alsounderscored the differences between the mezzotintand other reproductive techniques,especially since the composition had alreadybeen etched by Van Dyck himself after thesame picture in about 1630—seen in reversedue to the printmaking process (fig. 4). Theprimary distinction between the two methodswas summarized by William Gilpin(1724–1804), who wrote in his An Essay onPrints of 1768, “In etching . . . you make theshades; in metzotinto the lights” (p. 57).The traditional intaglio printmaking methodssuch as etching and engraving, in whichthe ink is deposited into the recessions of ametal plate, employ a system of lines to indicatetonal transitions from light to dark. In the caseFig. 3. Anthony van Dyck, Paulus Pontius, about1630, oil on canvas, 35⅞ x 25¾ in. Jerusalem, IsraelMuseum.5
Page 1 and 2: “The Artful Disposition of Shades
Page 3: fig. 1. Jonathan Spilsbury after Ma
Page 7 and 8: fig. 5. John Smith after Sir Godfre
Page 9 and 10: fig. 8. Richard Earlom after Joseph
Page 11 and 12: fig. 10. John Raphael Smith, Miss M
Page 13 and 14: four people in front of the window
Page 15 and 16: fig. 14. John Jones after Sir Joshu
Page 17 and 18: fig. 15. John Dixon after George St
Page 19 and 20: CHECKLISTDimensions for prints are
Page 21 and 22: Thomas Frye, Irish active in Englan
Page 23 and 24: John Smith (printmaker and publishe

The Great Age of English Mezzotints - Hood Museum of Art

Create successful ePaper yourself

Delete template?

Save as template?