ARTISTS
L鈥橢stampe Originale
L鈥橢stampe originale, published in France during the mid 1890s, is widely regarded by critics and collectors as one of the greatest collaborations in the history of printmaking. This extremely rare portfolio, originally conceived as a celebration of the original print, and especially color lithography, features ninety-five works of graphic art by seventy-four influential artists from France, Switzerland, Belgium, England, and the United States.
This dynamic and colorful portfolio was created when a resurgence of interest in printmaking as an original art form was taking place in the late nineteenth century. For the first time, painters and sculptors focused on the potentials of color, texture, and luminous effects in the graphic arts. Nearly every late nineteenth-century style, from Impressionism to Symbolism to Art Nouveau, is represented in the L鈥橢stampe originale portfolio. A rising middle class appreciated the availability of prints by revolutionary artists at a reasonable price.
The creative and far-sighted Parisian publisher Andr茅 Marty issued and distributed nine quarterly installments of L鈥橢stampe originale from 1893 to 1895, each in an edition of one hundred. Each artist decided on the format and presentation of their print鈥攖he paper used, the technique employed, even the position of the embossed blind stamp by contemporary sculptor Alexandre Charpentier. Although some artists such as Jean-Francois Raffa毛lli and Lucien Pissarro printed their own etchings and woodcuts, most of the artists collaborated with master printers, stretching the concept of originality, which once implied that fine artists did everything by themselves.
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L鈥橢stampe originale, published in France during the mid 1890s, is widely regarded by critics and collectors as one of the greatest collaborations in the history of printmaking. This extremely rare portfolio, originally conceived as a celebration of the original print, and especially color lithography, features ninety-five works of graphic art by seventy-four influential artists from France, Switzerland, Belgium, England, and the United States.
This dynamic and colorful portfolio was created when a resurgence of interest in printmaking as an original art form was taking place in the late nineteenth century. For the first time, painters and sculptors focused on the potentials of color, texture, and luminous effects in the graphic arts. Nearly every late nineteenth-century style, from Impressionism to Symbolism to Art Nouveau, is represented in the L鈥橢stampe originale portfolio. A rising middle class appreciated the availability of prints by revolutionary artists at a reasonable price.
The creative and far-sighted Parisian publisher Andr茅 Marty issued and distributed nine quarterly installments of L鈥橢stampe originale from 1893 to 1895, each in an edition of one hundred. Each artist decided on the format and presentation of their print鈥攖he paper used, the technique employed, even the position of the embossed blind stamp by contemporary sculptor Alexandre Charpentier. Although some artists such as Jean-Francois Raffa毛lli and Lucien Pissarro printed their own etchings and woodcuts, most of the artists collaborated with master printers, stretching the concept of originality, which once implied that fine artists did everything by themselves.
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