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LUNA VIOLETA EN NUEVO ORLEANS - Limited Edition of 4 Print

Jerry DiFalco

United States

Printmaking, Etching on Soft (Yarn, Cotton, Fabric)

Size: 16 W x 20 H x 1 D in

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About The Artwork

ROSE-COLORED EDITION WITH PURPLE MULBERRY BARK PAPER OVERLAY FOR MOON. Jerry Mazur-DiFalco created this visually distinctive hand-created print through the use of four separate zinc etchings plates, placed simultaneously on the printing press bed (in a pattern of two over two plates) to produce one printed image. The scene features an historic building (called THE CALBILDO) in the French Quarter of New Orleans; also, the work highlights DiFalco’s established trademark of allowing the viewer the opportunity to see scenes "through a window" via his use of multiple plates that mimick architectural windowpanes. The studio techniques of intaglio, aquatint, Chine collè, and drypoint were employed to achieve the final design; each plate was etched in a nitric acid bath four times and measures six inches high by four inches wide. The overall image size (including the separating cross-like shape that separates the plates) measures eight-and-a-quarter inches wide by twelve-and-a-quarter inches high. The French paper used was RivesBFK white. which measures about fourteen-inches high by seventeen inches high. The work is sold in an archival mat with a silver-painted wood and glass frame (twenty-four inches high by eighteen-inches wide). The unique color of this etching is attributed to the artist’s blending of seven colors of oil-based ink from Paris. The scene—based on three original drawings by DiFalco—was adapted from a 1999 photograph by a friend of the artist. This series contains FIVE EDITIONS, with each intimate edition limited to only FOUR ETCHINGS. This is the best print (Number One) from the 4th of 5 Editions (printed in June 2019. The price includes mat, frame, etching, shipment costs, shipment carton, bubble warp, plastic for waterproofing frame & work during shipment, a craft paper frame backing, and a signed Certificate of Authenticity with artist's information. This work was hand printed by DiFalco on a Charles Brand industrial, free-standing press at The Center for Works on Paper’s Open Studio in Printmaking, which is connected to The Fleisher Art School's campus in Philadelphia, Pennsylvania; Fleisher Art school is associated with The Philadelphia Museum of Art. NARRATIVE: New Orleans is a mysterious and bittersweet city that blends diverse cultures, music, art forms, and foods unlike any other city in the US. Its mix of French, Italian, Spanish, Canadian, West African, Asian, Caribbean, and Native peoples (coupled with its humidity, vegetation, and relaxed lifestyles) has earned it the nickname of “The Big Easy”. Architecture, jazz, voodoo, trolley cars, class stratification, diverse races, and culinary aromas all combine—like a flavorful gumbo—to create one of the most captivating cities in the US. Scene History: After the Louisiana Purchase, this building (called the Cabildo) housed governmental 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, a National Historic Landmark on Jackson Square in New Orleans, 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 remains today.

Details & Dimensions

Printmaking:Etching on Soft (Yarn, Cotton, Fabric)

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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