Maggi Hambling

References

Hambling, M. (1993). Towards Laughter. Sunderland, UK, Northern Centre for Contemporary Art.
Hambling, M. (1998). maggi & henrietta.
Hambling, M. (2006). Maggi Hambling the Works and Conversations with Andrew Lambirth. London, Unicorn Press Ltd.
Hambling, M. (2009). The Sea. Salford Quays, The Lowry Press.
Hambling, M. (2009). You Are the Sea. Great Britain, Lux Books.
Hambling, M. (2015). War, Requiem and Aftermath. London, Unicorn Press Ltd.
Ramkalawon, J. (2016). Maggi Hambling Touch: works on paper. London, Lund Humphries and British Museum.

Video interviews and rough notes

Her works

Maggi Hambling website

My first introduction to Maggi Hambling was through an exhibition at the National Gallery in 2009? and her portrait drawings

Maggi Hambling is probably currently most well known for her wave and Walls of Water paintings shown at the National Gallery. These include a series of monotypes first shown at Malborough Fine Art (see the exhibition), then the Fitzwilliam Museum in Cambridge and the National Gallery.

More recently her work has been more political with the exhibitions, dealing with topics like global warming, migration and war:

Interviews

Portrait Approaches

Portraits as a ‘likeness’ of an individual captured through painting, drawing and/or photography have been a part of human culture since prehistoric times. However portraits can have many different purposes that affect the way in which the concept of ‘likeness’ is interpreted,  the form of ‘capturing’.  Portraits vary widely in for example:

  • what is portrayed? is this a portrait of the face only (eg frontal, side or three quarters view)? is it just head and shoulders (what attitude?) is it the full body (what posture)? or part of the body only (eg hands? eyes? feet?) ? or is the main focus on context (some portraits contain objects and environment of the sitter without the sitter themselves)
  • external or internal ‘reality’? is the aim mainly a figurative likeness of external appearance? or more a ‘capturing of inner soul’ that permits abstraction and exaggeration of shapes, colours etc? or does it try to do both?

This is often affected by:

  • the relationship between the person portrayed and the person doing the portrayal: who commissioned it? who is paying? who is in control of the decisions? 
    • was the portrait commissioned by the subject? why and for whom? how do they wish themselves to be represented?
    • was the portrait instigated by the artist? using a paid model? or a friend/lover etc? why and for whom? do they have a specific artistic style?
  •  the context in which the portrait is to be viewed:
    • is it a private, personal painting to be seen by a few close friends and family members who know the person well? 
    • does the intended audience have particular views about what is a ‘good’ or ‘bad’ portrait? or are they more interested in innovative approaches?

These factors have varied significantly over time.

Ancient world

Prehistoric cave paintings, pottery and statuettes depicted people in abstracted form. Some of these may have represented particular people eg chiefs, or deities where particular characteristics have been exaggerated eg fertility or facial features/hairstyles/clothing showing ethnic identity.

Egypt: portraits of rulers and gods were highly stylised, and most in profile, usually on stone, metal, clay, plaster, or crystal. Egyptian portraiture placed relatively little emphasis on likeness, at least until the period ofAkhenaten in the 14th century BC.portrait bust of Queen Nefertiti sculpted in c.1360 bc

Roman-Egyptian funeral portrait of a woman

China: Portrait painting of notables in China probably goes back to over 1000 BC, though none survive from that age. Existing Chinese portraits go back to about 1000 AD

Ancient Greek and Roman portraiture was often highly accurate and subjects were depicted with relatively little flattery.  Sculpted heads of rulers and famous personalities like Socrates show why he had a reputation for being ugly.

Middle Ages

Most early medieval portraits were commissioned by , initially mostly of popes in Roman mosaics, and illuminated manuscripts, an example being a self-portrait by the writer, mystic, scientist, illuminator, and musician Hildegard of Bingen.

Hildegard von Bingen

Renaissance

Many innovations in the various forms of portraiture evolved because of economic and social changes in the role of the artist, and technological innovations eg use of oil paints that enabled finer brush strokes.

Northern European: Durer, Jan van Eyck, Holbein

Albrecht Durer painted like Christ

Italy: the Florentine and Milanese nobility wanted more realistic representations of themselves that stimulated experimentation and innovation particularly in creating convincing full and three-quarter views. Artists like Sandro Botticelli, Piero della Francesca, Domenico Ghirlandaio, Lorenzo di Credi, and Leonardo da Vinci and other artists added portraiture to traditional religious and classical subjects, often in very similar style. Leonardo and Pisanello were among the first Italian artists to add allegorical symbols to their secular portraits.

Mona Lisa

Baroque and Rococo

In the 16th Century artists increasingly experimented with printmaking techniques to produce figurative portraits as for example:

Rembrandt van Rijn  who painted powerful portraits of himself ‘warts and all’ as he grew older. In addition to paintings he also made etchings.

 Benedetto Castiglione who, influenced by Rembrandt, experimented with monoprint from 1640 to produce very detailed portraits.

19th and early 20th century

Saw further development of figurative portraits by artists like Ingres, Watteau. But also the evolution of:

  • Impressionism focusing on effects of light and colour like Degas
  • Fauvists and expressionists whose woodcut portraits and paintings used exaggerated forms of distortion and use of colour to express emotion and tried to capture ‘inner essence’ and/or the feelings of the artist towards the subject.

20th century

Artists continued to abstract further:

Picasso
Egon Schiele
Francis Bacon
Andy Warhol
Lucien Freud
Chuck Close

Andy Warhol, Marilyn Diptych, 1962

Contemporary

Some artists continued to aim for a ‘heightened realism’ through exaggerated colour and/or dramatic use of line, for example:

Other artists focus much more on inner emotions, particularly in self-portraits, in some cases focusing more on symbolic objects than representation of the subject themselves:

References

!!to be completed

http://www.visual-arts-cork.com/genres/portrait-art.htm 

Hiroshige and Hokusai: Japanese woodblock prints

The woodblock prints of Hiroshige and Hokusai were the source for my work in Project 2.1: Formal Abstracts: Japanese landscape.

Ukiyo-e

In-depth video on history and development of techniques of Japanese woodcut from monochrome through painted monochrome prints to multiblock printing. It looks at its influence on Western artists like Van Gogh and Monet following the exhibition of Japanese art for the first time at the Paris Exhibition of 1867. It also looks at the modern day revival of ukiyo-e prints as paintings on shops in Tokyo regeneration.

Japanese woodblock prints with Paul Binnie

Lecture on background and underlying ideas in Japanese printing techniques.

Japanese woodblock printing History Ukiyo-e Jose Ortega

History of Japanese printing and way it spread and related to earlier Chinese and Buddhist prints.

Technique (from Wikipedia)

The technique for printing texts and images was generally similar. The obvious differences were the volume produced when working with texts (many pages for a single work), and the complexity of multiple colours in some images. Images in books were almost always in monochrome (black ink only), and for a time art prints were likewise monochrome or done in only two or three colours.

The text or image was first drawn onto washi (Japanese paper), then glued face-down onto a plank of wood, usually cherry. Wood was then cut away, based on the drawing outlines. A small wooden hard object called a baren was used to press or burnish the paper against the inked woodblock to apply the ink to the paper. Although this may have been done purely by hand at first, complex wooden mechanisms were soon invented and adopted to help hold the woodblock perfectly still and apply proper pressure in the printing process. This was especially helpful with the introduction of multiple colours that had to be applied with precision over previous ink layers.

While, again, text was nearly always monochrome, as were images in books, the growth of the popularity of ukiyo-e brought with it demand for ever increasing numbers of colors and complexity of techniques. The stages of this development follow:

  • Sumizuri-e (墨摺り絵?, “ink printed pictures”)—monochrome printing using only black ink
  • Benizuri-e (紅摺り絵?, “crimson printed pictures”)—red ink details or highlights added by hand after the printing process;green was sometimes used as well
  • Tan-e (丹絵?)—orange highlights using a red pigment called tan
  • Aizuri-e (藍摺り絵?, “indigo printed pictures”), Murasaki-e (紫絵?, “purple pictures”), and other styles in which a single color was used in addition to, or instead of, black ink
  • Urushi-e (漆絵?)—a method that thickened the ink with glue, emboldening the image. Printers often used gold, mica, and other substances to enhance the image further. Urushi-e can also refer to paintings using lacquer instead of paint. Lacquer was rarely, if ever, used on prints.
  • Nishiki-e (錦絵?, “brocade pictures”)—a method of using multiple blocks for separate portions of the image, using a number of colors to achieve complex and detailed images. A separate block was carved to apply only the part of the image designated for a single color. Registration marks called kentō (見当) were used to ensure correspondence between the application of each block.

Contemporary Japanese woodblock

Katsutoshi Yuasa

Keizaburo Matsuzaki

Ross Loveday

website: http://www.rossloveday.com/prints.html

‘The fine line which separates figuration and abstraction interests me; time, place , weather and light alongside gesture, glimpse and memory.

The subjects are only the starting points- sometimes small insignificant details or texture triggers a complete piece.’

Drpoint and Carborundum
Lifelines. Monoprint and Drypoint
North Bank Monoprint and drypoint

Working process

He uses drypoint with monoprint and/or carborundum on a metal plate.

 

Iona Howard

http://www.ionahoward.com/

She has a studio in Cottenham in the Cambridgeshire Fens.

My prints explore the notion of time and landscape through a contemplative exploration of surface. The sources of my prints can come from working in the open air or expressing landscape filtered through memory…I am captivated by the ancient semi-natural landscapes typical of my native west Cornwall where a blurred line exists between nature and human activity. Recent works of the Fens focus on the meeting point of land, horizon and sky, their flatness altering the perception of distance. ‘

From interview with Iona in Cambridge 4th Feb 2017:

Her landscapes have a strong geometric structure of contrasting colours and textures. She mainly uses a combination of carborundum, drypoint and monoprint techniques. A mix of a binder (polyurethane varnish) and carborundum grit is applied onto the surface of a plate and sealed with the same varnish. The binder has to withstand a lot of working but should not be so thick as to hide the grit texture of the carborundum. To contrast the carborundum, drypoint is added to produce an incised line. The plate is then inked up using etching ink and copperplate oil with a brush or roller.

Originally she worked in black and white. Now she also works in colour from memory and notes. Colour is built up by layering carborundum plates or more often overlaid though monoprint. Dry ink can be added as a third pass. Ink can be laid on thickly for more embossing. She can use the same base plate but with different seasons. Editions of 40. Or 10-15. She gets commissions where people ask for specific colours.

The technique allows working directly in the landscape to paint on the carborundum and the drypoint plates, and large images can be produced. She prints  on thick Somerset paper, printing to the edge of the paper to “leave the composition as unconstrained as the landscapes from which I seek inspiration”. She mounts with  nonreflective glass.

 

Linocut Inspiration

Linoleum was invented in the early 1860s and first used for printing in 1890 in Germany for the manufacture of wallpaper. By the early 20th century it had been popularized for artists’ prints. Linocut gained particular favour in poorer cultures that were less inhibited by a tradition of fine printing. In revolutionary Russia important linocuts were produced from about 1918. In Canada in the 1920s and 1930s the linocut was more common than the woodcut.

Linocut artists have been influenced by earlier woodcut traditions, including Japanese woodcut traditions and and also geometric forms and abstraction from African and Oceanic art. Linocut artists like the Grosvenor School and Lyubov Popova (see below) have also been influence by major art movements of the twentieth century, particularly cubism, futurism and constructivism. The possibility for dynamic mark-making and bold shapes with simplified colour make lino very well suited for this type of design.

Linocut artists used many of the techniques earlier developed for woodcut – both markmaking and use of tone and structure. But they also developed new directions with Picasso’s use of the reduction linocut (that can also be done with any other surface like wood). Linocut artists became particularly interested in dynamic shapes and use of colour influenced by Futurism.

Later prejudice grew up against linoleum block printing, as suitable only for children, amateurs and the uncultured. The linocut’s popularity also fell with the rise of commercial collaboration between printmaker and publisher, which encouraged more technically complex media.

But recently there has been a resurgence of interest in linocut as an art form. It is a key part of the many printmaking courses as an easier introduction to relief printing than woodcut. It has therefore become widely used for things like greetings cards. But there are also contemporary linocut artists doing innovative work – including very large pieces that exploit its potential for being cut into smaller blocks and because of its relatively light weight. There has been development of a wide range surface etching and texturing techniques using different tools.

Nineteenth and twentieth centuries

Franz Ciceck

An Austrian artist and teacher popularised the material for artists’ prints. He recognised the medium’s potential to instruct children in colour and design: it was cheap, easily worked with simple tools, adaptable to water-based inks, and versatile. Cižek toured Europe and North America with examples by his pupils and influenced art education worldwide.

German Expressionists  1905-1920s

The first major artist to adopt linocut as a medium was Erich Heckel, and his earliest linocut is dated 1903. In his Frog Queen (1905) linoleum’s lack of grain bias is evident in the perpendicular clusters of gouge strokes.

Artists from Die Brucke regularly used linocut instead of woodcut from 1905 to 1920s. These focused on bold shapes and expressive distortion in monochrome prints. The use of lino was ideal for this, although the fine lines and use of woodgrain etxture in some of the woodcuts was not possible.

Click here for overview of German Expressionist woodcuts

Google images for Expressionist linocuts

Google images for Erich Heckel linocuts

This German Expressionist tradition has been continued by modern artists like Georg Baselitz who produces very large linocuts and combination prints often on subjects of political protest.

Click here for overview of the work of Georg Baselitz

Matisse

Matisse executed 70 linocuts between 1938 and 1952. These are similar in both style and subject matter to his black and white monoprints of figures. They are executed on lino in a fluent white-line technique, taking evident advantage of the smooth passage of the knife through the soft material and the variation in expressive line that can be achieved.

Click here for overview of Matisse’s work as printmaker and artist

Click here for Google images of Matisse linocuts

Picasso

Picasso used linoleum for popular posters in the early 1950s. In 1959 he began a series of innovative colour linocuts, developing the reduction print technique. He developed a method of printing in different colours progressive states cut on a single block, so that the finished print comprises layered impressions of all the states.

Click here for overview of Picasso’s work as printmaker and artist

Click here for Google images of Picasso linocuts

Lyubov’ Popova

Lyubov Popova was a Russian avant-garde and ‘new woman’ artist (Cubist, Suprematist and Constructivist) painter and designer. She produced a number of linocuts in constructivist style.

Click here of overview of Popova’s work

Click here for Google images of Popova’s linocuts

Grosvenor School

Gaudier Brzewska

Edward Wadsworth

Claude Flight (1881–1955)

The most important British advocate of the linocut. He taught linocut from 1925 at the Grosvenor School of Modern Art in London and emphasized its accessibility to the proletariat. His images are very dynamic with strong curvature distortion.

Click here for overview of Flight’s work

Click here for Google images of Flight’s linocuts

Sybil Andrews

Click here for overview of Andrews’ work

Click here for Google images of Andrews’ linocuts

Lil Tschudi

Click here for overview of Tschudi’s work

Click here for Google images of Tschudi’s linocuts

Cyril Power

Click here for overview of Power’s work

Click here for Google images of Power’s linocuts

The work of the Grosvenor School has also influenced some contemporary linocut artists like the Canadian Gary Ratushniak who was trained by Sybil Andrews draws also on native America traditions.

Click here for overview of work of Gary Ratushniak

Click here for Google images of Ratushniak’s linocuts

Edward Bawden

Edward Bawden is another English artist and illustrator who often worked in watercolour, but also produced many linocuts. His work is more figurative and many of his paintings are from his experience as war artist in the Second World War.

Click here for overview of Bawden’s work

Click here for Google images of Bawden’s linocuts

US Civil Rights Movement

Linocuts were very popular as effective and cheap media for mass communication by African American artists involved in the American Civil Rights movement. Influenced by both African and Mexican art they depicted images of racial and sexual issues. Key proponents were:

Margaret Borroughs

Elizabeth Catlett

Contemporary linocut

Some of the sources I have looked at (in alphabetical order). For images and more detailed discussion see Logbook 2: Linocut at page references given below.

Richard Bosman

Emma Bradford

Helen Brown

Lynda Burke

Borge Carlson

Angela Cavaglieri

Katarzyna Cyganic

Otto Feil

Jess Freeman

Christine Koch

Rudolf Koch

Hans Larsen

Albert Masri

Ladislav Rusek

Richard Bosman

Richard Bosman (B 1944) is an Australian artist and printmaker who has produced woodcuts and linocuts since 1980s.

Google images for Richard Bosman linocut

 

Many of his paintings and prints are concerned with tragedies in dark urban settings, on rough seas, and in eerily quiet woods.  They have been influenced by expressionist printmakers like Edvard Munch and Emil Nolde. Also Japanese printmakers like Hokusai.

Some of his work is very experimental. He printed Smokers (1982) with his wife in an edition of two rolls of paper towels.

Born in India, raised in Australia, and the son of a merchant sea captain, Bosman has repeatedly returned to the setting of the sea. In an exhibition “Death and the Sea” at Owen James Gallery he depicts different aspects of the South Pacific sea: volcanoes, moonlit voyages and farewells, small rowboats fighting gigantic waves – “mankind is fickle, life is fleeting, and that the ocean remains unconcerned with our plight”.
“There is a cinematic beauty to these works by Bosman.  We sometimes feel as though we are looking at a film strip stopped in time, somewhere between cause and horrible effect.  Works such as Volcano and Fog Bank are subtle in their ability to show the progress of time, but there are visual gaps in it, and it is in these gaps that much of the intrigue lies.  In Night Sky the effect is almost imperceptible.  Here, only the stars move, and in this movement we find we are disoriented. Both South Seas Kiss and Mutiny share the short-lived joy of shore-leave, as a captain is first enraptured by an island girl only to meet his demise once he turns his back.”