According to the Text Lithography Was Almost Dead as an Art Medium

Dice Brucke Exhibition Poster (1906)
Lithographic poster past Fritz Bleyl
for the first Die Brucke art bear witness.

DIFFERENT FORMS OF ARTS
For different forms, see: Types of Art.

Lithography: Type of Printmaking

In fine art, the term lithograph or lithography comes from Greek, pregnant 'writing with stone'. It was invented in 1798 past High german Alois Senefelder (1771-1834), as a way of printing text, in particular his own plays.

Lithography is a popular planographic (surface-printing) technique based on the immiscibility (chemical repulsion of) oil and water. Senefelder patented the process in 1798 and his kickoff publication was a set of drawings by Swiss naturalist Conrad Gessner (1516-65) in London in 1799.

The lithographic process was kept top secret until 1818, when Alois Senefelder published Vollstandinges Lehrbuch der Steindruckerey (A Complete Course of Lithography). A mod variant is photo-lithography, which employs photographic processes to capture the paradigm on metal plates.

History of Lithography

Lithography quickly became pop with artists as a means of reproduction. The artist simply drew a motion-picture show on a rock, which was then pressed to reproduce lots of copies on paper. Senefelder continuously improved the procedure during his lifetime, receiving awards and medals for his piece of work.

The beginning collection of lithographs was published in London in 1803, and included works by American artist Benjamin W (1738-1820), Irish painter James Barry (1741-1806) and Anglo-Swiss artist Henry Fuseli (1741-1825).

In 1804 the outset series of lithographs in Berlin were published, and included a drawing by the architect Karl Friedrich Schinkel (1781-1841). In France the process proved popular with some of the country'south well-nigh important artists including Eugene Delacroix (1798-1863), Theodore Chasseriau (1819-1856), Theodore Gericault (1791-1824) and the anile Goya (1746-1828).

By this time the procedure had been further developed and information technology was now possible to requite both colour and tone to a lithograph. Information technology was discovered that every colour could exist produced by overlapping blue, crimson, yellow and black.

Note: For other forms of fine art print processes, see: Woodcuts (oldest printmaking technique), Engraving (derived from Goldsmithery techniques), Etching (of import intaglio method), Silkscreen Printing (popularized by Warhol), and Giclee Prints (Inkjet printer).

The Basic Lithographic Process

In this printmaking procedure, the creative person draws the desired image on a flat rock surface, using a greasy litho crayon or a greasy black ink (tusche) - note: the word lithography derives from the Greek 'lithos' meaning, stone. Limestone is usually the preferred surface for fine fine art, but zinc and aluminium plates are also used. When the cartoon is completed, information technology is 'fixed' with an etch (a heavy syrupy mix of gum standard arabic and a small quantity of nitric acid) to prevent the grease from spreading. In addition, the nitric acrid opens the pores of the stone, enabling the gum and grease to enter hands. Meanwhile, the gum arabic surrounds the greasy areas, sealing information technology against the water applied during printing. Considering of the mutual repulsion of grease and water, the image attracts the oily ink only repels water. Thus, when the surface is moistened and inked, the ink adheres to the greasy drawing and not the wet stone, and is transferred perfectly to paper. Indeed, lithography is noted for its ability to capture fine detail and subtle differences in shading.

Famous Fine Art Lithographers

Lithography instantly became a popular class of graphic art with painters during the mid-1800s, including the Spaniard Goya, and the French artists Gericault and Delacroix noted for his equestrian lithographs. The draftsman Honore Daumier was more than prolific, existence i of the first artists to utilize transfer-lithography, by which the tusche drawing is made on newspaper instead of on stone. He proved a groovy influence on subsequent exponents like Whistler (1834-1903). Another American exponent of lithographic art was Winslow Homer (1836-1910). Later on in the 19th century, the Impressionists Edouard Manet (1832-83), Odilon Redon (1840-1916) and Edgar Degas (1834-1917), equally well as Henri Fantin-Latour (1836-1904), also adopted this print method.

Poster Art

Although lithography was invented in 1798, for the first many years information technology was too expensive a process to be used for poster art. Most posters in the beginning were woodblocks or metal engravings which contained footling or no color or design. This changed when information technology was discovered that all colours could be produced with as little as four stones, yellow, blue and red, and tones with the addition of blackness. Although the process was initially difficult, it produced some of the most powerful, luminous images which are still difficult to rival today. The ability to combine colour, image and text on one surface, made the lithographic poster ane of the most powerful means of communication in late 19th century, early 20th century Europe and America. However, information technology only truly became popular as an art class after the French printmaker Jules Cheret (1836-1932) invented his "3-stone chromolithography". This invention helped to transform the streets of Paris, New York and London into art galleries. Past 1890, during the Belle Epoque in Paris, poster art was in total blossom. In 1891 Toulouse-Lautrec's (1864-1901) poster La Goulue, Moulin Rouge elevated the status of poster art to fine art. In 1894, the Cezech lithographer Alphonse Mucha was creating the outset masterpieces of Art Nouveau posters. His fame was secured most overnight by his lithographic poster of Sarah Bernhardt. Art Nouveau displayed a mix of influences including Pre-Raphaelites and Byzantine art. Past the turn of the century, exhibitions of poster art were existence held beyond Europe. Toulouse-Lautrec was followed by other Postal service-Impressionists like Paul Gauguin (1848-1903), and the Nabis Pierre Bonnard (1867-1947), and Edouard Vuillard (1868-1940).

At the outset of the 20th century, poster art was connected past a new generation of artists including Leonetto Cappiello (1875-1942) and A.Yard. Cassandre in Paris, Lucien Bernhard in Berlin and Ludwig Hohlwein in Munich. The styles developed, encompassing propaganda fine art, Futurism, Constructivism, Cubism, Dada, and Art Deco. Past the Second World War, posters were more commonly being printed by a mass product technique which involved using photos rather than artistic designs. Past the 1950s lithographic posters had virtually died out.

Lithography and Fine art

In the 20th century, the Norwegian Edvard Munch (1863-1944), likewise every bit expressionists like Max Beckmann (1884-1950) and Ernst Kirchner (1880-1938) became avid lithographers, as did the French painters Henri Matisse (1869-1954) and Georges Rouault (1871-1958). Amidst modernistic artists, lithography was utilized past artists similar Andy Warhol (1928-87), Stow Wengenroth (1906-78), Willem de Kooning (1904-97), Rockwell Kent (1882-1971), M.C. Escher (1898-1972), Ben Shahn (1898-1969), David Hockney (b.1937) and Robert Rauschenberg (1925-2008), who all imbued the medium with peachy vitality.

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Source: http://www.visual-arts-cork.com/printmaking/lithography.htm

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