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Posts Tagged ‘Printmaking’

Edward Calvert’s Visionary Prints

Posted in Favorite Things, Influences, tagged Edward Calvert, Engravings, Printmaking, The Ancients, Visionary Art, William Blake on August 31, 2015| 4 Comments »

The Chamber Idyll 1831 Edward Calvert 1799-1883

Edward Calvert The Chamber Idyll 1831

Edward Calvert was a British artist born in 1799 . He was trained in the Royal Academy as a painter and had a distinguished career as traditional painter of his era. But in his early years, he also learned wood and copper engraving as a member of a group of artists who were followers of visionary artist and poet William Blake. They called themselves The Ancients.

It was during this time that Calvert created a series of prints from his engravings that are considered visionary masterpieces. I know that when I look at them they seem to be out of time and almost modern in feel, certainly not something you would expect to see from Britain in the 1820’s. His last engraving from this time was The Chamber Idyll, shown at the top, finished in 1831. It is considered his masterpiece and would be the last print he ever did, abandoning printmaking altogether to pursue his career as a painter.

He didn’t carry the visionary feel of his early print work into his paintings, choosing to work in the traditional style of the time. While he had a long career as a painter, his painted work is not considered in the nearly the same regard as his prints which are considered to be some of the most important British prints made. I think they are pretty wonderful and find myself just staring at them, taking in each composition’s design and use of space within the picture. Just beautiful…

The Sheep of his Pasture circa 1828 Edward Calvert

Edward Calvert- The Ploughman 1827

Edward Calvert The Brook 1829

Edward Calvert -The Lady and the Rooks 1829

Edward Calvert -The Flood 1829

Edward Calvert -The Cyder Feast 1828

Edward Calvert -The Bride 1828

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Armin Landeck

Posted in Favorite Things, Influences, tagged Armin Landeck, Columbia University, Etching, Great Depression, Martin Lewis, New York City, Printmaking, The School for Printmakers, Wisconsin on March 6, 2014| 1 Comment »

Armin Landeck- Cat’s Paw 1934

I have often featured the work of artists here who work in black and white, mainly printmakers who work in forms of etching or lithography. For myself, I like seeing the pattern and rhythm of these compositions without the influence of texture or color. Probably because I am always looking for a new way of looking at the normal and these give me a clear view of their construction, their bones. There’s something very pure in that.

Last week I wrote bout Martin Lewis who achieved some success with his wonderful etchings in the 1930’s only to fade into obscurity in the 40’s until the end of his life. Today I want to feature a contemporary as well as an associate of Lewis, Armin Landeck. Born in Wisconsin in 1905, Landeck came to New York City in the 20’s to study architecture at Columbia University. He and his wife traveled to Europe from 1927 until 1929 where he studied art and became interested in printmaking, producing his fist body of prints there. Returning to the states and not being able to find work as an architect, Landeck turned his complete attention to printmaking.

Armin Landeck- Pop’s Tavern 1934

Like Lewis, he documented the New York of the early 30’s, the tonal nature of his black and white etchings creating a perfect atmosphere for the gritty urban landscapes. The nature and popularity of their work eventually brought Lewis and Landeck together. Together they opened The School for Printmakers in 1934 but it quickly became a victim of the Great Depression, closing in 1935. As I noted, it was during this time that Lewis left NY and work soon fell from favor in the post-war years as Abstract Expressionism and other new trends in art took over the city. Lewis never regained his footing.

Armin Landeck- Chair and Table 1980

Landeck, on the other hand, let his work be influenced by the new atmosphere in the art world, adopting more and more elements of abstraction in it. Without really altering his own unique perspective, his work continued to expand and evolve, remaining vital until his death in 1984.

I like that while I love this work there is also a lesson to be learned here about allowing new influences into your work, not simply cutting yourself off or settling at a plateau at a certain point in time. I will ponder that while I continue to look at Mr. Landeck’s beautiful work.