Newsletter:


galerie hochdruck
home/de home/en news opening_hours about contact/imprint links press tour archives/web_catalogues

Present exhibition:
 
INTAGLIO
Engravings and etchings from Francisco Goya to Heinrich Heuer


Online catalogue

Duration: 9 November 2021 to 18 February 2022
Location: Galerie Hochdruck, Friedmanngasse 12/5, 1160 Wien
Opening: 9 November 2021, 6 to 9 pm
Opening hours: Tue – Fri 11 am –  6 pm or by appointment
Web: https://www.galeriehochdruck.com/news_en.html
Email: contact@galeriehochdruck.com
Phone: +4369911506010

extended until 18 February

This time, in contrast to the name of the gallery, we are focusing on intaglio printing in its various forms and sometimes very demanding techniques. “Intaglio” comes from the Italian intagliare, which means “to notch” or “to scratch” and refers to the treatment of the plate by the artist, who cuts or carves the image out of or into the metal plate – directly or through an etching ground. The German word Tiefdruck again refers to the way the plate is printed. In intaglio printing, in contrast to relief printing, where the parts left standing during cutting (i.e. webs or contiguous areas) print, the ink lies in the recessed parts of the plate – engraved, scratched or treated by other techniques – and is transferred from these to the paper by high pressure. There are cold processes such as copperplate engraving or drypoint, in which the plate is treated purely mechanically, and processes in which the plate is additionally etched in order to deepen or widen the areas to be printed, which also always involves a change in the light-dark values.

Etching was invented just before 1500 by Daniel Hopfer, who derived the imaging process on paper from his practice of decorating weapons by etching. For a long time, a particular difficulty in etching was the production of larger contiguous dark surfaces, as the metal had to be sufficiently rough or have numerous closely spaced depressions in order to hold a lot of ink. For a long time, this was only possible with particularly narrow line or cross hatching. It was not until the middle of the eighteenth century, with the invention of the aquatint technique, that a tried and tested surface etching process could be applied on a large scale. In Goya’s experimental etching work, this technique in combination with line etching achieved its first great technical and artistic highpoint.

In our exhibition, Heinrich Heuer (b. 1934) is the brilliant culmination of a 500-year exploration of the various possibilities of artistic metal etching in printmaking. We are fortunate to be able to show not only a selection of his large-format etchings, which were created only this year, but also the corresponding printing plates. Also on display will be examples of all stages of the development of etching, including early examples of surface etching processes, as well as colour etchings, from Hopfer and Goya to examples from the twentieth and twenty-first centuries. We have selected prints that reflect as many different intaglio techniques as possible: from simple line etching to mezzotint and the sugar lift technique, from “à la poupée” printing in the second half of the eighteenth century to the viscosity printing used by Stanley William Hayter, from soft sground etching to “nature printing”.


Artists: Daniel and Hieronymus Hopfer, Hans Sebald Beham, Hendrik Goltzius, Adriaen Brouwer, Giovanni Benedetto Castiglione, Wenzel Hollar, Nicholas Cochin, William Hogarth, Francesco Bartolozzi, Giovanni Battista Cipriani, Daniel Nikolaus Chodowiecki, Francisco Goya, Camille Corot, Edgar Degas, James Ensor, Odilon Redon, Arthur Illies, Käthe Kollwitz, Max Slevogt, Walter Gramatté, Georg Ehrlich, Georges Rouault, Henri Matisse, Stanley William Hayter, Hans Bellmer, Arnulf Rainer, Florentina Pakosta, Felix Waske, Antoni Tàpies, Daniel Pizani, Heinrich Heuer



   

Past exhibition:

Neto — Pfauth — Pizani — Schneider — Seierl portfolios- print series


Online catalogue


Five artists, five different printing techniques, five different forms of serial design. What three of the artists have in common is the publication in portfolio form and the fact that they were inspired for their print series by a temporary stay abroad. For Michael Schneider it was Japan, for Daniel Pfauth Sri Lanka and for Wolfgang Seierl Poland. Antonio Neto draws the inspiration for his sometimes exceptionally wide-ranging series from travels in his imagination, which is saturated with memories of both European and non-European myths. And Brazilian Daniel Pizani, at twenty-six the youngest of the five, pays tribute – in both technique and content – to four centuries of etching in Europe, from Rembrandt, Tiepolo and Goya to Ensor and Picasso.