The epic tale of the University of Wisconsin LaCrosse Printmaking Program. The Printmaking program is directed by Joel Elgin and features the odd collection of the many PrintFools who enroll, print and exist from semester to semester in the Shop of Tears.

Friday, February 12, 2016


Really Good Baby Printmakers!

La Lecon de Dessin (The Drawing Lesson)
Lalauze, Adolphe (Rive-de-Gier, 1838 - Paris, 1906)
Date:   c. 1870 - 1875 (1880 Hamerton Edition)
Publisher:      Philip Gilbert Hamerton, London

Still Somewhat Good Adolescent Printmakers!

World History from Senefelder to the Present Day plate IX
Printers. Angels 1819
National Gallery of Australia
Prints--France--19th C. A.D

 And...Not so good Big printmakers!

Albert Besnard, Morphine Addicts,
1887, etching,
National Gallery of Art, Rosenwald Collection.

All need to know Jacques Callot

Be prepared little printmakers to follow this new guide. And prepared for new danger because while your sharp tools can cause damage and extreme shanking...

Jacques Callot
French, 1592-1635
Judith with the Head of Holofernes, n.d.

...and pain. 
Jacques Callot
French, 1592-1635
The Martyrdom of Saint Sebastian, n.d.

A new danger will change your lives and make your dreams come true. But don't over worry, as in all print processes, if you fall, you will rise.
Jacques Callot
(French, 1592-1635)
The Resurrection of Lazarus, from The New Testament, 1635

Everyone check these links out:

Some additional guidance: 

Adolphe Appian (1818-1898),
Une Mare (Environs de Rossillon), etching, 1867
9 1/4 x 6 5/8, the sheet 18 x 12 1/2 inches.
San Francisco Museum of Modern Art

Meet MAX

Sitting Man - litho

  Kestner-Mappe - litho

Big Kids!
 Grab your Morphine and watch the little video below...

Woodcutting printmaker Bridget Henry demonstrates:
The Reduction Woodcut:


Avery Dietzen said...

That Adolphe Appian etch is amazingly delicate. Some of those lines are so incredibly thin. It's a beautiful etch.

Keagan Van Eperen said...

I really enjoy the Angels 1819 (the second picture of adolescent angels on this post)displayed in the National Gallery of Australia. The lines are so detailed it doesnt even look like a print to me at first glance.

Andrea Anderson said...

I love the use of line in Callot's Resurrection of Lazarus. It creates so much depth with such a beautifully simple technique.

Montana Smith said...

The complexity in Callot's etchings is really lovely. The depth in The Stag Hunt created by the difference in value is really interesting to me and has me wondering how that was achieved. Max Kaus' lithographs have a very specific style to them. It's almost cartoonish to the modern eye, and the men have a tendency to look like Frankenstein's monster due to the exaggerated features.

Amanda Kamps said...

I really loved all of Callot's work. i was amazed at all the detail and different values he used in his work.

Allison Johnson said...
This comment has been removed by the author.
Allison Johnson said...
This comment has been removed by the author.
Allison Johnson said...

It is a universal law that everyone has a "hot Max" in their lives. I now have two "Hot Max's " in my life. hehe. I mainly think he is attractive because his lithographs impress me; they embrace a sort of emotional depth that only a certain type of man or woman can achieve.

Mitchell Doerr said...

I am an avid fan of perspective and shadow. A lot of these prints use both, which makes me read into them even more. One cannot help but appreciate how much time and effort could possibly have been put into these prints.