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NEW ORLAENS: EMERALD WINDOW - Limited Edition of 4 Print

Jerry DiFalco

United States

Printmaking, Etching on Paper

Size: 16 W x 20 H x 1 D in

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89 Views
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About The Artwork

Printmaking: Etching, Aquatint, Drypoint, Oil, Ink on Paper, Soft (Yarn, Cotton, Fabric), Other. Visual Artist and Printmaker Jerry DiFalco created this uniquely optical etching with four separate zinc plates, which were all placed on the printing press bed (two etching plates over two) simultaneously to produce a single image. The narrative and representational scene is woven with optical features and shows an historic building in New Orleans called THE CALBILDO. Di Falco’s trademark use of multiple plates creates the illusion of viewing the scene through a four-paned window. The studio techniques of intaglio, aquatint, Chine collè, and drypoint were employed on these zinc plates, and each one required four nitric acid baths to achieve the final etched design. The individual plates each measure six inches high by four inches wide, and the overall image size (including the separating cross-like space between the plates) measures eight-and-a-quarter inches wide by twelve- and-a-quarter inches high. The media included RivesBFK white printmaking paper and a created blend of four oil base etching inks from Paris. Mulberry bark paper treated with methyl cellulose was used in the Chine collè process to produce the pink moon. The print size is about 14 inches high by 17 inches high. The work is sold in an archival mat with a gold-painted wood and glass frame whose size is 25 inches high by 19 inches wide. The scene was adapted from a 1999 photograph by a friend of the artist —who created three original drawings of the photo before working on the plate design. This series contains FIVE EDITIONS, with each intimate edition limited to only FOUR ETCHINGS. This is the best print (Number One) from the Fifth of Five Editions as noted in pencil on the work’s lower left bottom margin (1/5;V/V). The Saatchionline price includes mat, frame, etching, all US domestic shipment costs, shipment carton, bubble warp, plastic for waterproofing frame & work during shipment, a craft paper frame backing, a Certificate of Authenticity, and an information packing about the artist. This work was hand printed by the artist on a Charles Brand industrial, free-standing press and published at The Center for Works on Paper’s Open Studio in Printmaking (in connection to The Fleisher Art School's campus in Philadelphia, Pennsylvania. Fleisher is associated with The Philadelphia Museum of Art. NARRATIVE LINE: New Orleans is a mysterious and bittersweet city that blends diverse cultures, architectures, musical genres, visual art forms, and cuisines unlike any other city. Its mix of French, Italian, Spanish, Canadian, West African, Asian, Caribbean, and Indigenous populations (coupled with its humidity, dense vegetation, and relaxed atmosphere) has earned the city nickname of “The Big Easy”. Ornate buildings, jazz, voodoo, trolley cars, class stratification, assorted racial mixes, and culinary aromas all combine—like a flavorful gumbo—to create the most captivating city in the US South. Building History: After the Louisiana Purchase, this structure, called the Cabildo, housed government offices. From 1803 until 1812 the Louisiana territorial superior court sat there. From 1868 to 1910 After the Civil War, the Louisiana Supreme Court resided here. The Cabildo is designated as a National Historic Landmark on Jackson Square and has also served as an emergency hospital, a banquet hall, and as a home for various libraries, including the New Orleans Library Association in 1819 and the Law Association Library from 1847 until 1910. In 1911, the Louisiana State Museum moved in, where it and remains today. FROM https://www.nps.gov/nr/travel/american_latino_heritage/Vieux_Carre_Historic_District.html The Vieux Carré Historic District is the historic center of New Orleans and an authentic showcase of the city’s rich cultural diversity and past. Established in 1718 by French colonist Jean Baptiste Le Moyne de Bienville, New Orleans became a part of the Spanish Empire in 1763 and returned to French control in 1801 before the United States bought it as part of the 1803 Louisiana Purchase. While today the district is known as the French Quarter because of its origins, nearly 40 years of Spanish rule left a strong imprint on the city and the Vieux Carré (“Old Square” in French).

Details & Dimensions

Printmaking:Etching on Paper

Artist Produced Limited Edition of:4

Size:16 W x 20 H x 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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