THE ART OF THE PRINT

Insights & Foundations

The Printmaking Tradition

The great masters of the twentieth century such as Picasso, Chagall, Miró, Dalí, together with the wider group of artists who shaped modern printmaking, approached the graphic arts as a true field of creation rather than reproduction. Through lithography, etching, aquatint, woodcut, and other techniques, they found a medium capable of great freedom, subtlety, and technical refinement.

For these artists and their contemporaries, the print workshop was not secondary to the studio. It was a place of experimentation where ideas were tested, perfected, and transformed into works as significant as paintings.

What is an Original Print

An original print is not a copy of a painting. It is a work conceived from the start to exist as a print. The image, the technique, the paper, and the edition are created through the artist’s direct work with the plate, stone, block, or stencil.

The printing matrix is a tool of invention, not reproduction. Each impression carries the pressure of the press, the texture of the surface, and the character of the paper, preserving the physical marks of the artist’s creative process.

The Language of Techniques

Lithography

Created on a limestone block or metal plate using greasy crayons and inks, lithography offered Picasso, Chagall, Miró, Dalí, and many others a way to draw with spontaneity and fluidity. Every wash, crayon line, erasure, and sweep of tonal color becomes a permanent part of the image.

Etching and Aquatint

Etching involves drawing onto a waxed metal plate that is then bitten by acid. It can produce lines that range from delicate to dramatic. Aquatint introduces areas of soft tone from pale grey to deep black, allowing artists to build atmosphere, shadow, and depth.

Drypoint and Engraving

Drypoint is drawn directly into the metal plate with a sharp needle, raising a burr that prints as a soft, velvety line. Engraving cuts deeper and cleaner. Both techniques reveal the pressure and movement of the artist’s hand.

Woodcut and Linocut

Carved from wood or linoleum, these relief methods produce images with graphic strength, contrast, and rhythm. The character of the cut and the interplay of light and dark give these prints their sculptural presence.

Pochoir and Hand Coloring

Pochoir is a refined stencil process in which color is applied by hand through cut stencils. Used widely in early twentieth century artist books, it combines fine precision with the richness of hand applied pigment.

Printers and Publishers

The creation of original prints depends on the collaboration between artists, master printers, and publishers. Atelier Mourlot in Paris stands at the center of twentieth century lithography. Its stones carried major works by Picasso, Chagall, Miró, Dalí, and Matisse. Other important ateliers such as Lacourière Frélaut, Crommelynck, Maeght, and several distinguished publishers and editors including Vollard, Skira, and Tériade shaped the history of modern printmaking. Their names in the margin form an essential part of a print’s pedigree.

Edition, Paper, and State

Original prints appear in planned editions. The number such as 34 slash 150 shows the individual impression and the total edition size. Artist’s proofs including EA, AP, and HC exist outside the regular edition and often remain with the artist or collaborators. States record changes made to the matrix over time and earlier states can be exceptionally rare. Paper is equally important. Arches, Rives, BFK, Japon, and similar fine papers each bring different weight, tone, and texture. These qualities form part of the artist’s intention.

Signatures

Not all original prints were hand signed. Whether an impression bears a signature was determined by the artist or publisher. Some editions include both signed and unsigned impressions even though the prints themselves are identical in every artistic and technical respect. Signed impressions can form a deluxe portion of an edition along with variations such as special papers or presentation formats.

Colophon and Justification Pages

Complete portfolios and artist books often include a colophon or justification page. This page records the edition size, paper, printer, publisher, and other essential details. It serves as the official documentation of the project and is a key reference for scholars and collectors.

Condition and Value

Condition plays a central role in desirability. Collectors look for strong and even ink, fresh color, full untrimmed margins, and minimal signs of handling or wear. A rare print in poor condition is generally less desirable than a more common work in exceptional condition. The quality of the impression itself is fundamental to its value.

Authenticity

Authenticity in printmaking depends on several factors including workshop records, catalogues raisonné, signatures or stamps, paper type, edition markings, and the characteristics of the impression. When these elements align, they establish the legitimacy of a print. A trusted dealer or specialist uses these combined indicators to verify authenticity with confidence.

Portfolios, Suites, and the Artist Book

Many works belong to complete sets where image and text are conceived together. In these projects the artist responds to a writer or a theme and the printer translates these ideas into ink and paper. The publisher shapes the design and sequence. A complete suite preserves the original intention of the project. Complete portfolios by Picasso, Chagall, Miró, Dalí, and other masters of the period remain central to the history of printmaking and to the focus of Godfather Gallery.