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Eiffel Tower in Magenta - Limited Edition 1 of 5 Print

Jerry DiFalco

United States

Printmaking, Aquatint on Paper

Size: 10 W x 19 H x 0.1 D in

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About The Artwork

NOTE: This work is sold and ships without a frame or mat. It is placed between two pieces of museum board and two of heavy duty board, all four wrapped in shipment paper. A CARDBOARD BOX IS USED IN SHIPMENT. The media for this hand-created, multiple-plate etching includes: paper; oil-based inks from France; hand-dyed mulberry bark paper from Thailand infused with kozo threads; and, powdered, hand-made methyl cellulose mixed with spring water. The studio techniques employed include INTAGLIO, AQUATINT, DRYPOINT, and CHINE COLLE. The artist manually printed the editions on a large BRAND flatbed press at The Center for Works on Paper in Philadelphia, Pennsylvania, US as part of The Open Studio In Printmaking at Fleisher Art. The artist published all editions. These special editions are limited to only FIVE, and each grouping is limited to just four etchings. The artist used six Nitric acid baths in the etching process before reaching his work’s desired design. Each print took over ten hours to produce, partially due to the fact that the artist hand-cut nine individual acetate stencils from which he create nine separate treated and cut mulberry bark paper pieces for each print (in the Chine colle process). This etching is based on a photograph that the artist took in Paris; the work uses four individually cut zinc plates, stacked in a vertical row on the printing-press-bed. Each plate measures three-inches high by four-inches wide, making the overall image about twelve-and-one-half inches high by four inches wide. In metric terms this translates to an individual plate size of 7.6200 centimeters high by 10.160 centimeters wide, and to an image size of 31.750 centimeters, respectfully. The later includes small spaces left between the plates. The French paper used was Rives BFK white and measures either eighteen or twenty-two inches high by ten inches wide, or 45.720 or 55.880 centimeters/ by 25.400 centimeters. Pictured here is a print from the FIRST EDITION. ARTIST’S NOTES: “This work deals with AMERICANA HISTORY and is the first work in my Series entitled, DENTAL OFFICE, a grouping of works that reminded me of Dentists’ Offices of the 1950s to today. For some odd reason, dentists have rather kitchy renditions of the Eiffel Tower on their office walls. I’m not saying this etching is kitch, rather it celebrates the artists who have immortalized this symbol in commercial ventures that appeal to the KITCH public . . . especially on Paris streets, in US mall art-galleries, and seaside resort boardwalk exhibits.”

Details & Dimensions

Printmaking:Aquatint on Paper

Artist Produced Limited Edition of:4

Size:10 W x 19 H x 0.1 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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