#Michael Rothenstein

[cupofmeat]

"Cottage with a Horse", Michael Rothenstein, ca. 1958. Linocut in colours.

[reality-nihilism]

Sport, 1971

By Michael Rothenstein

[lostfunzones]

‘Boats at Burnham on Crouch (Essex Coast)’ ,1956. Michael Rothenstein

[mybeingthere]

Anne Rothenstein is self-taught artist who lives and works in London. Born in 1949, the daughter of the late Michael Rothenstein and Duffy Ayres, she grew up in a lively and distinguished community of artists in the Essex village of Great Bardfield. Following a foundation course at Camberwell School of Art in the mid-1960s, Rothenstein worked as an actress for over a decade before gradually returning to painting.

"Interviewer: You come from an incredibly artistic family, your mother was Duffy Ayres, your father Michael Rothenstein, and your grandfather was the Royal College of Art principal Sir William Rothenstein. What was it like growing up in that world?

Anne R: Until I was 7, I grew up in a small village called Great Bardfield. It was full of artists, for example Edward Bawden lived across the road, and Eric Ravilious also lived there before the War. The weird thing was, although the place was shaped by artists, that community was deeply conventional. It wasn't a bohemian village, which is how some people imagine it. It was just quite normal. I also didn't know any different.

As a child, I was never dragged to art exhibitions or anything like that. In those days, children were sort of excluded, we were a nuisance. As a very young child, I spent most of my time alone. I lived in my own world at the bottom of the garden. I painted, drew and wrote all day long. Of course there were always materials all around me to do things like that, and in those times we didn't have television. It would be unusual to get through the day without producing or creating something.

My main love is Outsider Art, which is perhaps a reflection of how much of an outsider I've always felt (even though you could say I was born inside). Artists like Malevich and Natalia Goncharova have always interested me... and I've been very moved by the paintings of Gwen John. I wouldn't say that I reference her stylistically, though she also painted many solitary figures. I love early David Hockney, especially his etchings and drawings. Milton Avery has always been an influence. Over the past ten years I have been incredibly inspired by contemporary art and artists, names like Mamma Anderson, Rose Wylie, Kiki Smith, Noah Davis, Kerry James Marshall. I had a visceral reaction to the works of Bill Traylor, the African American folk artist."

https://artuk.org/.../seven-questions-with-anne-rothenstein

[pwlanier]

Michael Rothenstein, R.A. (1908-1993)

Construction

signed 'ROTHENSTEIN' (on the stretcher)

mixed media

52 x 37½ in.

Christie’s

[k00297644]

Relief Print Seminar - Des

Part One:

Expanding the dialogue between the process and the maker.

Etching, suits of armour, ink

Examples:

Relief Print Etching

Lithography Engraving

Silkscreen Monoprint

Collograph

Hydroprinting Risoprint

Hybrid Offset

Mezzotint Letterpress

Digital Drypoint

relief- lino print, block print

Why are they so popular?

-create multiple copies

-cost effective

-no complicated machinery

Alfredo Zalce - Tribute to Zapatta

German Expressionism

Michael Rothenstein

Anthony Davies

Katie Clemson

-contrast to strong, politically charged previous examples

Paul Catherall

-a bit more simple but very clean finish

Kevin Holdaway

Rona Green

Part Two:

Tom Huck - Evil Prints (woodcut)

prep for woodcut and something of this scale is crucial

Can use a block you make in other areas/diciplines

Albert Irvine

Mel Bochner (stroke painting)

Julian Meredith

books in library on print installation

Andrew Boyle

Orit Hofsi

Printmaking is the most difficult way to make a drawing

Swoon

[redsilkstudies]

Reflection on Relief Print Seminar

19/12/2022

Print was a good seminar to follow Typography with, since for text to be present it (most often) must be printed. Print is just as ubiquitous as typography, and can be expounded upon at length.

This seminar focuses in on relief print, made by cutting away material from the block to create white space once the block is inked and has paper pressed to it. From Japanese Ukiyo-e erotica and etchings taken from medieval suits of armor to the sharing of revolutionary and dissident information, relief print flourishes. Important considerations when engaging in relief print are composition and the balance of dark and light, as well as scale and setting.

During the seminar, the work of many artists was shared. Here is a selection of four that I particularly liked.

- Kate Dicker

- Michael Rothenstein

- Rona Green

- Mel Bochner

-

I watched these two videos as follow-ups.

I really love how relief prints look, I think they're gorgeous and I want to include them in my art practice as well as other forms of printmaking. I'm sad that I've decided not to take Print Making as one of my disciplines next semester but I still think it's the correct decision. I hope that remains true.

[k00282801]

RELIEF PRINT SEMINAR (PARTS 1 & 2)

Any printmaking process in which the printing surface is removed to leave only the image visible on the surface is referred to as a relief print.

There are many groups of print including

Reliefs print etching

Lithography engraving

Silkscreen monoprint

Collograph

Hydro printing risoprint

Hybrid offset

Mezzotine letterpress

Digital drypoint

Relief print (woodcut linocut) involves making a mark in a surface, which can be inked, and transferring that to a different surface (paper/fabric) Whatever design is cut into the surface will not receive ink, leaving it white in the finished product.

I learned that the reason relief and block printing is so popular is because of the ability to print these without elaborate and expensive machines, the ability to create and distribute multiple copies of same image and info and the ability to do it cheaply and at home.

Michael rothenstein

During the 1950s and 1960s, Michael Rothenstein developed into one of Britain's most experimental printmakers. Along with found elements like wood offcuts and metal scraps, he added contemporary 20th-century imagery to his relief prints by fusing photography with conventional woodcut and linocut techniques. His work is currently on display at several prestigious galleries.

Tom huck

Tom Huck is a visual artist best known for his large scale and satirical woodcuts. His imagery draws heavily upon the influence of Albrecht Durer, Jose Guadalupe Posada, R. Crumb and Honore Daumier.

Albert Irvine

Albert Irvin is an Abstract Expressionist painter, whose large-scale works are among the most compelling and distinctive produced in Britain today. He created an extraordinary body of abstract paintings, watercolours and prints.

[k00281189]

Seminar: Introduction to the possibilities of relief print

print is everywhere; what you read, what you wear, food wrapping etc.

Print is invasive It is a commercial enterprise that is ever growing. Everything you read in magazines and newspapers all come from print. Print is a development of communication.

etching derived from suits of amour to decorate suits of amour the amour was then inked and prints were taken off and printed into books as suits of amour were difficult to carry around and show people.

Japanese print is very popular

Styles of print

✧Relief Print etching: Lino, Woodcut, Block Printing

✧Lithography engraving

✧Silkscreen monoprint

✧Collograph

✧Hydroprinting risoprint

✧Hybrid offset

✧Mezzotint Letterpress

✧Digital drypoint

Print is about making a mark on the surface that can then be inked and that mark be transferred onto a different surface such as fabric paper etc. where ever you cut into wont receive ink.

Cutting and inking are only the process what your trying to communicate is from the artist.

Why are relief print and block print so popular and so integral to communication?

Look at the simplicity and be able to print them not too expensive.

create and distribute multiple copies of the same print, cheaply and at home.

Alfredo Zalce - Tribute to Zapatta

Part of the revolution and the evolution of the country.

This work symbioses freedom for the poor these pieces are integral to that country.

Michael Rothenstein

This print shows movement by means of colour with many colours present and different lines of direction.

Your using print in a way to talk.

Paul Catterall

This image has very simple clean lines but really doesn't seem to be that complicated. If there's less in a print it doesn't mean its going to be less complicated to make. These images are always the hardest to print because in somehting this simple as imprefection will be visible. when they do works makes beautiful imagery.

Block printing requires as understanding of composition, depth, shape, structure and line. Understanding comes with how you deal with and understand black and white and how they work with each other. There is an element of planning you need to know how your going to approach it and what you want to do.

Not a huge amount of detail but there is a fair bit of colour down at the bottom. Low buildings have light colour at the front so that brings your eye back. linear structures of the city center.

[jareckiworld]

Michael Rothenstein (1908-1993) — Green Pagoda   (woodcut & linocut, 1969)

[nobrashfestivity]

Michael Rothenstein

illustration for The Crazed Moon - W B Yeats, 1972

Mixed-media

[onlywhatshere]

[reality-nihilism]

The Fredrikstad Mural (In Praise of News Imagery) in four sections, 1977

By Michael Rothenstein

[psikonauti]

Michael Rothenstein New York City II 1974

[furtho]

Michael Rothenstein’s Timber Felling, 1946 (via here)

[pwlanier]

Michael Rothenstein, R.A. (1908-1993)

Tractor and Plough

Christie’s