The Origin of Painting - Bartolucci - Prints and Hanging Paintings

【Picture 1 is the original picture】 [Figure 2 is a partial enlarged view of the original] [Figure 3 is the German painter Anton Raphael Mengs (1728 ~ 1779), [Portrait of Bartolucci]] Author: Francesco Bartolozzi (RA) (1727 ~1815 ) Name: [The origin of Painting] Attribution: None (Published in London by A. Poggi). This work is a trial version before publication, and the relevant publication information and time have not been added. The paper still has fine ink marks left from the initial trial printing, which is very rare. Technique: stipple engraving, hand-painted on the plate (À la poupée). Year: 1786. Published on 08.01. Size: Approx. 25 x 21 cm (screen). 29 x 26 cm (including cardboard). Remarks: with double-layer cardboard mounting (without frame) No.: P K-051 Introduction of works: Before introducing this print, let's review the development of printmaking in Europe first, so as to understand why the color copper plate was the greatest achievement of printmaking technique in the eighteenth century. As early as the fifteenth century, although the method of hand-painting and coloring appeared in Europe, and the color effect similar to painting was obtained in woodcut works, it was strictly not the effect obtained by the printmaking technique. At the beginning of the sixteenth century, the light and dark woodcut method appeared, and it already had the prototype of color printing. However, since the creative concept stayed on the repeated imprint of monochromatic tones, it did not go to the development path of Japanese ukiyo-e colored woodcuts. In the gravure technique, the direct engraving and etching of the copper plate are the main components of the picture through lines, which do not meet the flat structure required for expressing color. In the seventeenth century, although some people painted directly on the copper plate lines, it was very complicated and labor-intensive, and the effect of each printed sheet was not the same, which could not meet the purpose of print reproduction. It was not until the eighteenth century that new copperplate techniques appeared, and the method of line engraving and chiseling was replaced by a surface on the copperplate. The basic conditions for color copperplates were not met, and it was also the beginning of the formal printing of color works in Europe. Meirouding copper plate (grinding and engraving technique), and the chalk effect technique invented by the legal person Franswat, both deal with the composition of the picture with the expression of the surface, rather than the line with the engraved needle. In addition, there are new copperplate techniques such as the fine-dot effect and the powder etching method, which are also techniques for expressing the screen with faces. This engraving, which bears witness to a peak of 18th century coloured copperplates, was made with the fine point technique. The fine point technique is basically an etching technique, mainly using roller cutters with different thicknesses, or spherical cutters used in chalk effect techniques to create a dotted picture, and then continue to corrode to complete, or without the corrosion process, to Fine-point technique works completed by direct engraving. The picture of the fine point technique is composed of dots of different thickness and density, forming a soft and delicate effect, and using this to obtain the surface that constitutes the tone, which is suitable for expressing color. Among them, the Italian Francesco Bartolozzi (1727~1815) is the representative of this technique and the author of this print. He was born in Florence. His father originally hoped that his son would inherit his father's business and let him become a goldsmith. However, he preferred graphic art and turned to Venice to study art. Finally, he was proficient in the technique of copperplate etching. He created his own works and copied many masters. His paintings and frescoes gradually spread to other parts of Europe. In 1764, he came to England, and soon became a royal printmaker. After staying for nearly forty years, he has a pivotal reputation in the British art and literature circles. He not only learned the fine point technique of copper plate popular in the UK, but also kept improving, becoming a leader in this technique. There are many of his works, the more outstanding, all exuding an elegant and feminine temperament, and a preference for red, orange and brown inks rather than the prevailing black at the time. Bartolucci was a famous scholar, with more than 50 middle school students and artists in his workshop, copying the paintings of important British portrait painters at that time. In 1802, he moved to Lisbon, Portugal, to help the Royal Printing House to rise to the next level, and finally buried in Lisbon. Since this color pinpoint print is a trial version before official publication, there is no relevant publication information and title of the work. It is in the collections of the Victoria and Albert Museum to get a glimpse into its origins. This engraving titled "The Origin of Painting" was printed and published on August 1, 1786 by Bartolucci's fellow countryman, publisher and art dealer Antonio Cesare Poggi (?~1836?). This is a rare original print by Bartolucci. It uses the technique of hand-painting and slowly adding color directly on the plate (À la poupée), and then carefully wipes off the excess color. After printing, repeat the coloring on the plate again. Therefore, each picture will be slightly different, and sometimes the effect will be very different. Unlike register printing, the difference can be controlled. The picture is an ancient Greek story that became popular in the eighteenth century. The ancient Roman naturalist Gaius Plinius Secundus (23~–79) recorded a famous legend when he discussed the origin of painting in his masterpiece Natural History. Butades, who was born in Sicyon and is regarded as the first sculptor of ancient Greece, is about to leave for a young man his daughter loves. The top depicts the projected portrait of the lover under the lamp, and Boutades then pressed clay into the projected outline, pinched out the relief portrait of his daughter's lover, and fired it to shape. This story records the origin of painting and sculpture at the same time. By the eighteenth century, due to the maturity of perspective, projection and optical instruments, it was no longer difficult to convert 3D three-dimensional into 2D plane. The story of the transformation of three-dimensional relief became the subject matter of many artists in the trend of worshipping the ancients at that time. Bartolucci also used this to show his superb fine-point skills, and incorporated the little love gods that were not in the original story, turning love and thoughts into concrete images. *If you have any details, please send a message to contact the designer *The main products of this design hall are Western antiques, old jewelry, and old European original prints. Old products will inevitably have traces of historical years, but they are cleverly placed according to personal taste, and they can promote an extraordinary life. Taste and aesthetic concept. However, if you still mind, please consider carefully before placing an order.