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| Art Style by Definition |
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| Abstract |
In painting and sculpture, emphasizing a derived essential
character having little visual reference to objects in nature. |
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| Cubism |
An early 20th-century school of painting and sculpture in which the
subject matter is portrayed by geometric forms without realistic detail,
stressing abstract form at the expense of other pictorial elements
largely by use of intersecting often transparent cubes and cones. |
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| Expressionism |
Movement in fine arts that emphasized the expression of inner experience
rather than solely realistic portrayal, seeking to depict not objective
reality but the subjective emotions and responses that objects and events
arouse in the artist. |
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| Provenance |
The history of ownership of the item being sold; the "chain" of owners,
listed from earliest to most recent. |
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| Figurative Art |
Art in which recognizable figures or objects are portrayed. |
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| Folk Art (Naive; Primitive) |
Traditional representations, usually bound by conventions in both
form and content, of a folkloric character and usually made by persons
without institutionalized training. |
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| Impressionism |
The impressionist style of painting is characterized chiefly by
concentration on the general impression produced by a scene or object
and the use of unmixed primary colors and small strokes to simulate
actual reflected light. |
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| Realism |
In the arts, the accurate, detailed, unembellished depiction of
nature or of contemporary life. Realism rejects imaginative idealization
in favour of a close observation of outward appearances. |
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| Representational Art |
Art in which recognizable objects, figures, or elements in nature
are depicted. |
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| Surrealism |
A 20th-century literary and artistic movement that attempts to
express the workings of the subconscious by fantastic imagery and
incongruous juxtaposition of subject matter. |
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| Print Terminology |
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| Artist proof (A.P.) |
A print outside of the numbered series, usually 1/10 of the edition. |
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| Aquatint |
An intaglio method in which areas of color are made by dusting powdered
resin on a metal plate and then letting acid eat the plate surface away
from around it. |
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| Bon-a-tirer |
(Fr. Good to pull"; pron. bone-ah-ti-RAY) The first impression ok a
print run acceptable to the artist and used as the standard with which
each subsequent impression is compared. |
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| Dry point |
An intaglio technique like engraving in which the image is drawn on
a metal plate with a needle, raising a ridge which prints a soft line.
Embossed Print Uninked relief print in which dampened paper is pressed
into recessed areas of a plate to produce a three-dimensional impression. |
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| Engraving |
An intaglio process in which lines are cut into a metal plate and then filled
with ink to transfer the image onto paper. |
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| Etching |
An intaglio process in which an image is scratched through an acid-resistant
coating on a metal plate. The plate is then dipped in acid which eats into the
exposed surface. |
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| Graphic |
Any work printed directly on paper from a plate or block. |
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| Hors de commerce (H.C.) |
(Fr. "Outside of sale"; pron. OR de com-AIRCE) A designation for
prints not in the numbered series pulled for the use of the publisher,
normally limited to five or six. |
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| Intaglio |
(Ital. "Incision"; pron. in TAHL-yo) Any technique in which an image
is incised below the surface of the plate, including dry point, etching,
aquatint, en graving, and mezzotini. |
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| Linocut |
A process in which an image is cut in relief on a linoleum block. |
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| Lithograph |
A planographic process in which images are drawn with crayon or a
greasy ink on stone or metal and then transferred to paper. |
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| Mezzotint |
An intaglio process in Which the plate surface is roughened and
then an image is created by smoothing the areas to be printed. |
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| Monotype |
A unique print made from an inked, painted glass or metal plate. |
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Photomechanical Offset
Printing |
A process in which an image is transferred to a printing plate
photographically and then onto a roller which prints on paper. An offset
print is not a graphic. |
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| Planography |
Any process of printing from a surface level with the plate, as lithography. |
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| Relief |
A technique in which the portions of a plate intended to print are raised
above the Surface, as woodcut, linocut, etc. |
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| Roman Numbered Edition |
A smaller edition numbered with Roman numerals, usually a deluxe edition
on higher quality paper. |
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Serigraphy (screenprinting,
silkscreen) |
A stenciling method in which the image is transferred to paper by forcing
ink through a fine mesh in which the background has been blocked. |
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Signed and Numbered
Authenticated |
with the artist's signature, the total number of impressions in the
edition, and the order in which the impression is signed; -5/20" indicates
that the print is the fifth signed of an edition of20 impressions. |
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| Woodcut |
A process in which an image is cut in relief on a wood block. |
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| Original vs Reproduction |
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Original graphic =
Reproduction =
Provenance = |
multiple original
multiple copy
The history of ownership of the item being sold; the "chain" of owners, listed from earliest to most recent. |
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| Original graphic |
The original graphic is not a copy of the artwork, but the original artwork
itself. It is the print from a print-plate (lithostone/etching-plate), on which
the artist produces the original artwork manually. For this the artist needs
specific skills and knowledge. Multiplication of the original is inherent to
this technique. Whether printing 10 or 300 originals from the print-plate, each
print is an original, an original graphic. The original characteristics remain
unaltered, regardless of a very large or a very small edition (size), the price
however will differ. The number and the signature are customary, indicating
quantity (edition size) and authenticity, nothing else. |
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| Reproduction |
The production does not require specific skills of the artist, not even
his presence is necessary. What you do need, however, is an example, an
original work of art. A detailed photographic or manual transfer of the
original on a print-plate is a copy and the necessary preparation for
reproduction. Whether producing 10.000 or 10 prints from a print-plate;
the number and the signature cannot change the factual value of the
reproduction, however it can change the subjective evaluation. |
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Hamburg, 1981
Paul Wunderlich. |
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