Tuesday, July 29, 2014

Giorgio Morandi Etchings: Looking Back into the Art of Etching

Giorgio Morandi made etchings at a time when etching was a sort of specialized art. Etching dominated the process of printing images, illustrations in books and other publications, as well as sculptural and architectural works. With the development of modern printing, etching lost its practical value, so with its popularity, but it evolved into the use of metal, ceramics, and other media. It is to Morandi et al, that the art continues to occupy a distinct place in the world of art through forms and applications, such as relief etching and photo etching. 

Dr Abe V Rotor 
I had the opportunity to view Morandi’s works exhibited  at the Tel Aviv Museum in Israel, in 1992, and I could only express my awe and appreciation to both the skill and the peaceful and composed person behind these masterpieces.   

 Still Life with Four Objects and Three Bottles 1956 
 Still Life with Five Objects, 1954
 Large Still Life with Eleven Objects, Circular 1942
 Landscape, Grizzana 1932 
  Still Life 1933
 Still Life with Pears and Grapes 1927
 Still Life with a Large Poplar 1927
  Still Life with a Small Bread Basket 1921 
 Landscape, Grizzana 1932 
 Still Life with Bottles and Jug 1915

Acknowledgement: The Israel Museum, Jerusalem; and The Tel-Aviv Museum

1 comment:

  1. Commercial printmaking in Morandi,s time was tge photomechanical halftone dot ,photogravure and also lithography.
    Artists had revived an older technique that had gone in the late 18th century.when lithography and photomechanical methods surpassed it with speed .
    Morandi.s etching required no mechanical rapid method of reproduction for magazine newspaper or products and allowed the artist hands on involvement with a process that combined direct drawing and timely use of etching mordants.
    Lines and tonal depth could be organise by first drawnin lines thick or thin or subsequent use of time when the plate was in the etching bath. This combined with hand inking and printing by the artist fascilitated individual decisions of subtle qualities in the print not seen in multiple mechanical commercial printing.