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Tracing the Line in the Alhambra's Court of Poets OR The Lion Fountain at Dusk -Edition 2/9
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Tracing the Line in the Alhambra's Court of Poets OR The Lion Fountain at Dusk -Edition 2/9 Print

Jerry DiFalco

United States

Printmaking

Size: 15 W x 11 H x 0.1 D in

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About The Artwork

This etching is based on a photograph I shot in 1987 at the Alhambra in Granada, Spain; it is from my series dedicated to Mystical Places and Sacred Spaces. The techniques employed include intaglio, drypoint and aquatint; the work was executed on two zinc plates onto which hard ground was applied. The image was drawn (or etched) into this ground with an etching needle; and then, the two plates were placed in an acid bath for the lines to incise into the metal. An oil-based etching ink mixture (Charbonnel brand from France) of copper, violet, and burnt sienna colors was then applied and wiped before I ran the double-plated print through the hand operated press. I used Fabriano paper (cream colored) from Italy for this edition. This is the Edition One (limited to only TEN prints); there will be three additional editions of nine prints each in other colors. SIZE: Two ETCHED zinc plates printed on one piece of paper. Each plate measures 7” high by 5” wide {18 cm x 13 cm} with a small vertical separation space between the plates; the overall image measures 7” high by 10.25” inches wide {18 cm x 26.1 cm}. The print is 11 inches by fifteen inches. The work was hand printed and published by the artist at The Center for Works on Paper in Philadelphia, Pennsylvania. THIS PRICE INCLUDES: THE ETCHING; ALL HANDLING COSTS; SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP & OTHER PACKING MATERIALS; AND, A CERTIFICATE OF AUTHENTICITY. NO FRAME OR MAT IS INCLUDED TO KEEP THE PRICE LOW.

Details & Dimensions

Print:Etching on Paper

Artist Produced Limited Edition of:10

Size:15 W x 11 H x 0.1 D in

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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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