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GUARDIAN OF THE PINK GRAVE Print - Limited Edition of 10

Jerry DiFalco

United States

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About The Artwork

Title: GUARDIAN OF THE PINK GRAVE Printmaking: Etching (Techniques Used- Intaglio, Aquatint, and Drypoint) I used nine separate zinc plates to create this image. Each plate was two-inches wide by three inches high (2.54cm by 12.7cm); next, I lined the plates in three rows of three on the printing press to produce this work of multiple rectangular forms. I did this to counterbalance the square areas within the image itself, as well as to elongate the veiled female figure, which is “the Guardian of the tomb” of LAGARDE-GUERET in the Paris cemetery of Pere-Lachaise. This tomb was designed by artist Eugène Paul Benet [1863-1942]. My etching underscores the sacred geometric relationships within the Lagarge-Gueret tomb to the actual rectangular parameters of the work’s borders. The forms also recall the shapes of “books” to me, which relates to the family’s impressive literary collection. The collection of Jeanne Lagarde Gueret was donated to the National Archives in Paris in 1936. I find it quite alluring that most of the books bear the following book cover insert: "Odiate e aspettate; bookplate Jeanne Lagarde Gueret”, which refers to the motto of Catherine de Medici, from Bibliothèque nationale de France. The overall size of the etched image is 6.5 inches wide (16cm) by 9.5 inches high (23cm); The paper measures 11 inches wide by 15 inches high (28cm x 38cm). Hand-Printed by the Artist at The Center for Works on Paper, in Philadelphia, Pennsylvania, USA. This is PRINT # ONE from the Second Edition of Four; each limited edition has only ten prints (1/10;Edition II of IV). I photographed this image in 1987 while in Paris at Pere-Lachaise cemetery. This 109-acre graveyard is a must-see site for any visitor to The City of Lights. It contains the most stunning tomb sculpture, as well as the graves of Edith Piaf, Bizet, JIM MORRISON (if he really is dead), Oscar Wilde, and of course, Alice B. Toklas. THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (12 inch x 16 inch high, Type – Plexi-Glass & Metal Edge / Semi-Ornate Style, Color - Black); ALL HANDLING COSTS; SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP & OTHER PACKING MATERIALS; AND, A CERTIFICATE OF AUTHENTICITY. The work is wired and ready to hang. Framing includes a brown craft paper backing. A wall hook and nail are included. EDITION NOTE: The final Editions of this work will consist of only five prints each; these editions will be executed at a later date (possibly in 2019) because of alchemical conditions.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:8 W x 12 H x 0.1 D in

Size with Frame:13.25 W x 17.25 H x 1.2 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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