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MOTHER GODDES Number Two - Limited Edition of 5 Print

Jerry DiFalco

United States

Printmaking, Etching on Paper

Size: 12 W x 16 H x 0.5 D in

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About The Artwork

This intaglio and aquatint etching (EDITION II of IV, PRINT NUMBER 1 of 5) was inspired by an engraving by Philips Galle (c. 1585-1590), who was born in Haarlem in the Netherlands. DiFalco employed a zinc plate that was etched in three Nitric acid baths; moreover, the plate measured six inches high by nine inches wide, or 15.240 cm x 22.860 cm. The print size is eleven inches wide by fifteen inches high, or 27.940 cm x 38.100 cm, and the frame in which it ships measures about twelve inches wide by sixteen inches high (30.480 cm x 40.640 cm). Media included: a blend of colored, oil base inks (Charbonnel Brand, from Paris); heavy RivesBFK white printmaking paper from France; and, a Thai mulberry bark paper that was infused with Japanese kozo threads and hand-treated with home-made methyl cellulose. A description of the Chine colle process is included at the end of this text. The representational etching depicts the Goddess Diana (probably from Ephesus, which is currently in Turkey, south of Izmir). She has six breasts and her body’s bottom section is composed of a plinth resplendent with numerous animal heads. She holds a bird in one hand and a torch in the other, which represent the cosmic elements of air and fire. Fruit and a water-filled urn, both at her feet, symbolize the elements of earth and water. The Galle engraving is part of the collection at the Rijksmuseum in Amsterdam (to refer to this print, use the URL: http://hdl.handle.net/10934/RM0001.COLLECT.417298 The Temple of Diana in Ephesus was considered of the seven wonders of ancient times. She represented both the virginal goddess of nature, as well as of “The Hunt”; she was considered the Maiden, Mother, and Crone in the guise of her personae. Her dress is composed of animals, and her breasts were symbols of fertility (as represented by bulls' testicles . . . for fertility).⁠ DiFalco’s etching was hand printed and published by the artist at The Center for Works on Paper in Philadelphia, Pennsylvania, as part of Fleisher Art School’s Open Studio In Printmaking. This is from the FIRST EDITION OF FOUR, and each edition is limited to just five etchings. THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; FRAME; ALL HANDLING COSTS; ALL SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP & OTHER PACKING MATERIALS; AND, A CERTIFICATE OF AUTHENTICITY. The work is wired and ready to hang; in addition, the framing includes a brown, craft-paper backing. A wall hook and nail are included. An Explanation of the Chine Colle Process: Methylcellulose powder is reconstituted with spring water and then applied to mulberry bark paper from Thailand, Brand Unryu. The treated paper is then allowed to dry overnight, and I cut it exactly to fit the plate areas where I want certain color areas to exist in the print. I create the stencils from heavy-duty acetate and then trace the number of pieces needed to place on the inked and wiped etching plate. The printing paper is then placed over the zinc plate, which is now on the press bed, and then covered with blankets. The manual printing process continues, and I turn the operating wheel that moves the bed. Next I remove the blankets and lift the paper (the printed etching) with the cut mulberry bark papers now a permanent part of the etching. A multi-colored image on paper results. This difficult process is time consuming but well worth it. The work was hand printed and published by the artist at The Center for Works on Paper in Philadelphia, Pennsylvania. This is from the FIRST EDITION OF FOUR, and each edition is limited to just five etchings. THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; FRAME; ALL HANDLING COSTS; ALL SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP & OTHER PACKING MATERIALS; AND, A CERTIFICATE OF AUTHENTICITY. The work is wired and ready to hang; in addition, the framing includes a brown, craft-paper backing. A wall hook and nail are included.

Details & Dimensions

Printmaking:Etching on Paper

Artist Produced Limited Edition of:5

Size:12 W x 16 H x 0.5 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Imagery and storyline—both vital components of my creative process—enable me to create a form of visual poetry. Consequently, photography is intricate to my artistic strategy, especially with regard to my etchings. In view of this, many of my printed images—accomplished via the studio techniques of intaglio, aquatint, drypoint, and Chine collè—originate from my own photographs, as well as ones I uncover during research into the archives of academia, historical societies, and museums. Upon locating a scene that fascinates me, I first sketch a few original drawings of the likeness, and next transfer that drawing onto my prepared zinc etching plate. NOTE: In my etchings that incorporate the Chine collè process, I use mulberry bark paper from Thailand, which is infused with Japanese kozo threads. The paper is also treated with methylcellulose. I endeavor to establish links between the metaphysical and physical worlds . . . between the realms of dream and reality . . . and between the natural and the fabricated. In a sense, I believe that art unveils everything that we mask behind our assumptions and biases . . . or rather, those realms we neglect—or refuse—to perceive. My label for our failure to examine these areas is, “The Phenomenology of Non-Connectedness", which I blame on today’s communicational tools such as Social Media, the Internet, texting on smart phones, and “tweeting”. MY ETCHING TECHNIQUE I work on metal etching plates treated with both hard and soft grounds. These grounds consist of mineral spirits, beeswax, oil of spike lavender, and other natural substances. After these grounds dry, I draw images with needles and other tools onto the plate. Next, the exposed areas are “etched into” the zinc or copper plate in a bath of Nitric Acid and spring water. An artist’s proof in then printed after the plate is cleaned; Moreover, two to seven additional plate workings, acid baths, and proof printings occur before my desired effect is obtained. When satisfied with my end result, I apply oil based etching ink onto the clean plate and then remove the excess ink with several wipes. Next, I align my etching plate onto the printing press bed and cover it with papers and press blankets. Finally, the plate goes through the press to obtain my print. This process is repeated until all editions are created. I usually create three to five editions of five or six etchings for each one of my plates.

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