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Theater Lara: Night Ghosts - Limited Edition of 5 Print

Jerry DiFalco

United States

Printmaking, Etching on Paper

Size: 10 W x 12 H x 0.7 D in

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About The Artwork

This intimate hand-printed etching, executed on a Charles Brand hand build press that was manufactured in New York City, incorporates the studio techniques of intaglio, aquatint, and drypoint. I blended Parisian, oil base etching inks (Charbonnel brand) and Stonehenge black etching paper. The size of the zinc plate measured five inches wide by seven inches wide; the actual print size is about ten by eleven inches, and the frame size measures about 13 inches high by 11 inches wide. The scene was adapted from a photograph I shot in Madrid when I lived there in the spring of 1990. The neighborhood at that time had just begun to gentrify, but was still noted for its red light bars. The most beautiful Baroque church in Madrid (Saint Anthony of the Immigrants) was located across from my hostal, a fifth-floor walk-up with cold water. My view was a well-like tiny courtyard covered with dead birds. I fell in love with the city and enjoyed the people in my neighborhood. The Theater LARA was abandoned in 1990, but has since been renovated in its Baroque style. The price of this etching (PRINT NUMBER 1 of 5 in the SECOND OF FIVE EDITIONS) includes a frame, mat, shipment box, handling, transportation costs to collector, and a Certificate of Authenticity. The artist hand printed this final (4th) edition at The CENTER FOR WORKS ON PAPER, FLEISHER ART MEMORIAL'S OPEN STUDIO IN PRINTMAKING, IN PHILADELPHIA, PENNSYLVANIA, USA. Fleisher Art is associated with the Philadelphia Museum of Art, and the artist has served as an Artist's Mentor there for eleven years. The remaining two editions will all be limited to five etchings each. NOTE: Print #5 of five sold. Only four etchings remain for sale in this last edition. Este grabado íntimo impreso a mano, ejecutado en una prensa de construcción manual de Charles Brand que se fabricó en la ciudad de Nueva York, incorpora las técnicas de estudio de huecograbado, aguatinta y chine colle (pegado chino). Mezclé tintas de grabado parisinas a base de aceite (marca Charbonnel) y papel de grabado negro Stonehenge. El tamaño de la placa de zinc medía cinco pulgadas de ancho por siete pulgadas de ancho; el tamaño de impresión real es de aproximadamente diez por once pulgadas, y el tamaño del marco mide aproximadamente catorce pulgadas de alto por once pulgadas de ancho (35,56 cm por 27,94 cm). La escena fue adaptada de una fotografía que tomé en Madrid cuando vivía allí en la primavera de 1990. El barrio en ese momento apenas había comenzado a aburguesarse, pero aún se destacaba por sus barras de luz roja. La iglesia barroca más hermosa de Madrid (San Antonio de los Inmigrantes) estaba ubicada frente a mi hostal, un quinto piso sin ascensor con agua fría. Mi vista era un patio diminuto como un pozo cubierto de pájaros muertos. Me enamoré de la ciudad y disfruté de la gente de mi barrio. El Teatro LARA fue abandonado en 1990, pero desde entonces ha sido renovado en su estilo barroco. El precio de este grabado incluye marco, tapete, caja de envío, manejo, costos de transporte al colector y un Certificado de Autenticidad. El artista imprimió a mano esta ultima (4th) edición en The CENTER FOR WORKS ON PAPER, FLEISHER ART MEMORIAL'S OPEN STUDIO IN PRINTMAKING, EN FILADELFIA, PENNSYLVANIA, EE. UU. Fleisher Art está asociado con el Museo de Arte de Filadelfia, y el artista se ha desempeñado como Mentor de Artista allí durante once años. Las tres ediciones restantes estarán limitadas a cinco aguafuertes.

Details & Dimensions

Printmaking:Etching on Paper

Artist Produced Limited Edition of:5

Size:10 W x 12 H x 0.7 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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