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CAMILLE PISSARRO
Mendiantes
.
Color etching and drypoint printed in reddish-orange and black from
two plates, with the coloring applied in the manner of a monotype, on
antique, cream laid paper, circa 1894. 200x150 mm; 8x6 inches, full
margins. Second state (of 2). One of approximately only 5 lifetime
impressions printed in colors in both states, there were also
approximately 4 lifetime impressions printed in black only. Inscribed
“2e état no. 5” in pencil, lower left. A brilliant, richly-inked impression
with strong colors and crisp, inky plate edges.
In this impression, Pissarro printed the red pigment, from a second plate,
over the black. He applied the red ink as if drawing, to produce dense
lines of pattern on the back of the girl’s dress as well as translucent areas
of wash on the right side of the composition. By 1894, Pissarro had
begun experimenting with producing color intaglio prints using several
separate plates for each color. His foray into color printmaking was brief
and apparently unsuccessful, he abandoned it after producing only five
such prints.
Shapiro notes, “Through a complicated procedure, in which three plates
for red, yellow, and blue and a key plate of gray, gray-brown, or black for
outline were used, the artist produced several interesting etchings in color.
It was extremely difficult to obtain satisfying results when the sheet for
every print had to be properly aligned and put through the rollers of the
press four times. Since the subtle variations in the registration of the plates
created different effects of color and atmosphere, each impression printed
by Pissarro was unique.”
Mendiantes
employs only two plates but was printed in the manner described
above, with similar results given Pissarro’s difficulty in the registration of
both plates. He further experimented with this subject by applying the red
ink in a manner of a monotype, brushing and drawing it on to the surface
of the plate rather than rubbing it into the incised lines as with an etching.
Not coincidentally, at this same time, Pissarro had installed a small intaglio
printing press in his studio and begun experimenting with monotypes, likely
acting on the suggestion of Degas,who had been creating monotypes (many
of which were highly embellished with color pastels) since the 1870s. In a
letter to his son Lucien in 1894, in which he likely described his monotype
printmaking, Pissarro wrote,“The press I brought from Delâtre [the Parisian
printer] has been installed in the large studio; I am waiting for ink to make
some
prints.Wetried to print with oil color, the effect is astonishing. It
gives me the urge to do more etchings.” Delteil 110.
[15,000/20,000]