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Printmaking: Aquatint, Etching, Oil, Ink, Drypoint on Paper, Soft (Yarn, Cotton, Fabric), Other.
The artist incorporated the studio techniques of Chine Collé, Drypoint, Intaglio, and Aquatint in this etching. Its media includes French, oil base etching ink (Charbonnel brand from Paris), RivesBFK white paper (also French), and mulberry bark paper from Thailand that was hand-treated with organic methylcellulose and infused with kozo threads from Japan. The work was executed on a zinc etching plate coated with a liquid hard ground of beeswax, oil of spike lavender, and mineral spirits. Four separate baths in Nitric Acid were required to arrive at the final design. The image size is six-inches high by eight-inches wide (15.240cm x 20.320cm), and the print size measures about 11 inches high by fifteen-inches wide (27.940cm x 38.100cm). The wood and glass frame is about twelve-inches high by sixteen-inches wide (30.480cm x 40.640cm). This etching will eventually have FOUR EDITIONS with each one limited to only five etchings. This work, from the First edition, is Print Number One of Five (1/5; I/IV). The artist published and printed the works on a CHARLES BRAND floor model, industrial printing press (manufactured in New York City) at The Center for Works on Paper in Philadelphia, Pennsylvania.
The scene originated from original drawings done by Mazur-Di Falco. These drawings were all inspired by a photographic still from Jean Cocteau’s cinematic masterpiece, entitled THE ORPHIC TROLOGY, which includes the films: The Blood of a Poet (1930); Orpheus (1949); and, The Testament of Orpheus (1959). A vital element in Cocteau’s films involves life’s very origin Cocteau called this key interest, “phoenixology”. Cocteau explained that this term, which he allegedly borrowed from the surrealist artist Dali, was, “the science of people’s death and rebirth”. The notions within pheonixology are no less vague upon further study, but however inflexible, the concept remains crucial in understanding Cocteau’s artistic goals. In short, Cocteau’s ORPHIC TROLOGY is a major focus upon The Poet’s lives . . . and deaths. His film making techniques broke new grounds in the cinema and elevated it to an art form on the same level as sculpture or painting . . . or poetic storytelling.
This price includes the etching, an archival matt, and a wood and glass frame painted black. Also included are all shipment costs, packing and handling fees, shipment box, and Certificated of Authenticity. Please note that the term Chine Collé is pronounced Sheēn Kō-lay and translates from French as Chinese Pasting in English. The artist’s infatuation with Jean Cocteau began after viewing Cocteau’s film BEAUTY AND THE BEAST in the summer of 1971.
Artist featured by Saatchi Art in a collection