{"id":2882,"date":"2024-03-08T11:21:02","date_gmt":"2024-03-08T11:21:02","guid":{"rendered":"https:\/\/tandemantiguedades.com\/antoni-tapies-and-the-experimentation-of-engraving\/"},"modified":"2024-03-11T12:22:27","modified_gmt":"2024-03-11T12:22:27","slug":"antoni-tapies-and-the-experimentation-of-engraving","status":"publish","type":"post","link":"https:\/\/tandemantiguedades.com\/en\/antoni-tapies-and-the-experimentation-of-engraving\/","title":{"rendered":"Antoni T\u00e0pies and the experimentation of engraving"},"content":{"rendered":"

The first incentives<\/strong> T\u00e0pies received to explore the field of graphic printing came from various publishers, including Sala Gaspar and Pol\u00edgrafa<\/strong>. Soon, the artist discovered the vast potential that this medium offered for experimentation with new techniques and materials<\/strong>. The material dimension<\/strong> of the artistic work always captured his interest intensely, becoming even the core of his creation<\/strong>. In this context, printmaking was presented as a window to a vast universe of expression.<\/p>\n

T\u00e0pies’ graphic work is distinguished by the expressiveness<\/strong> with which he approached the support, i.e. paper<\/strong>. Working with a white satin<\/strong> paper, completely smooth and without imperfections, contrasts significantly with the choice of papers that present spots or pronounced textures<\/strong>. This last type of support was the one that consistently captured the artist’s interest.<\/p>\n

From a traditional perspective, one could say that the artist’s treatment of the support was irreverent<\/strong>. He constantly sought to transform the paper<\/strong>, giving it relief, incorporating foreign elements or even tearing it. Just as his painting moved away from the conventionally pictorial, his graphic work integrated elements generally considered antagonistic to this discipline<\/strong>. He counted on the valuable collaboration of technicians<\/strong> who fearlessly faced the challenges proposed by the artist. However, his exploration of different materials and techniques was not an end in itself. His interest lay in the expressive value<\/strong> that these technical innovations could bring, from a philosophical and experiential perspective<\/strong>.<\/p>\n

\"ocher
Etching, “Ochre and black”, year 1970<\/a><\/em><\/figcaption><\/figure>\n

The Gaspar family<\/strong> is distinguished for being the pioneers in publishing original engravings and lithographs by T\u00e0pies<\/strong> in their gallery located in Barcelona. Entitled “Litos negras”<\/strong>, these works were produced at the Foto-Repro<\/strong> workshop in the same city. T\u00e0pies remembers these projects not only as his initial incursion into the lithographic technique<\/strong>, which was new to him and required multiple tests and efforts before its realization, but also for the challenge of working on smooth surfaces. Despite the complications, he found this challenge exhilarating.<\/p>\n

The artist himself positively valued the fruits of his energetic debut in lithography. He faced the challenge of an unfamiliar material, resistant to being mastered<\/strong> in his search for a new channel of expression<\/strong>. In his various lithographic creations, T\u00e0pies individually explored the most recognized techniques<\/strong>: from spontaneous drawing with lithographic pencil on stone, through the creation of densely structured surfaces, to images that, by means of scraping, evoked the effect of aquatint. From this experimentation emerged works of large format and quality that were initially valued for their excellence as lithographs and, in the background, as creations by T\u00e0pies<\/strong>. It would seem that, with a step forward, the artist sought, in his second approach to this medium, to stamp his personal seal<\/strong> using graphic tools. It is considered that his significant works of that period served as a reference for these compositions<\/strong>, which do not so much emerge from the intrinsic graphic capabilities, but rather seem to challenge them.<\/p>\n

\"Black,
Etching, “Black, gray, red, violet and yellow”, 1972.<\/a><\/em><\/figcaption><\/figure>\n

The editorial trajectory of T\u00e0pies’ graphic work<\/h2>\n

Antoni T\u00e0pies<\/strong> began his incursion into the field of graphic art in the late 1940s<\/strong>, collaborating with Enric Tormo<\/strong> in the creation of his first etchings. About a decade later, towards the end of the fifties, he received an invitation from Sala Gaspar in Barcelona<\/strong> to produce his first lithographs. Shortly thereafter, in the 1960s, he began to collaborate initially with the Galerie Maeght in Paris<\/strong> and later extended his work to the Maeght galleries in Zurich and Barcelona.<\/p>\n

In the early 1970s, T\u00e0pies began to collaborate with Ediciones Pol\u00edgrafa<\/strong>, where he produced etchings and lithographs. Later, in 1987, he began a close collaboration with the Edicions T Gallery in Barcelona<\/strong>, a relationship that was further strengthened in 1988.<\/p>\n

T\u00e0pies takes advantage of all available resources to experiment with traditional printmaking techniques, challenging them to achieve innovative results. This leads to the creation of prints of remarkable technical complexity<\/strong>. For this reason, printers<\/strong> have become essential figures in the process of making a print, collaborating closely with the artist, sharing their concerns, seeking solutions to the challenges that arise in each project and ultimately becoming accomplices in the artist’s creative process.<\/p>\n

Antoni T\u00e0pies<\/strong> often combined several techniques in a single print: etching, aquatint, roller, soft varnish, lithography, silkscreen, collage, among others. To execute these techniques, the artist has always relied on the experience of professionals who have assisted him in the task of altering conventional printing methods, with the aim of maximizing the expressiveness<\/strong> of the paper. These expert printers have been consulted, whenever possible, to reconstruct the technical process behind the prints.<\/p>\n

The papers traditionally used in the field of engraving and lithography are “Vitelas”<\/strong>, a type of high quality cotton paper chosen for its ability to optimally reproduce all techniques. T\u00e0pies preferred to use papers supplied by “ArjoWiggins”<\/strong>, although he also resorted to handmade papers, such as those of Aquari, Capellades, La Franca, Richard de Bas and Japanese papers.<\/p>\n

\"mercuri\"
Multi-color lithograph with suede leather application, “Mercuri”, 1978.<\/a><\/em><\/figcaption><\/figure>\n

At the end of 1987<\/strong>, Antoni T\u00e0pies<\/strong> began a close collaboration with the gallery “Edicions T”<\/strong> in Barcelona, directed by his son Toni T\u00e0pies Barba<\/strong>. Since then, this gallery has been the main publisher of the artist’s prints. In January 2001<\/strong>, “Edicions T” was renamed “Galeria Toni T\u00e0pies”<\/strong>, after a period of transition during which both names coexisted. At the same time, Galerie Lelong<\/strong> has played a crucial role in T\u00e0pies’ graphic career, producing in collaboration with the artist numerous engravings, lithographs and artist’s books.<\/p>\n

During these years, Antoni T\u00e0pies maintained his collaboration with the Erker Galerie<\/strong> in Switzerland, continuing a relationship that began in the early 1960s. The Erker Galerie arose from a project led by J\u00fcrg Janett<\/strong> and Franz Larese<\/strong>, with whom T\u00e0pies created numerous lithographs and woodcuts, as well as artist’s books in collaboration with various authors and artists.<\/p>\n

Finally, T\u00e0pies also continued his relationship with Edicions Pol\u00edgrafa<\/strong> of Barcelona, with which he produced prints, lithographs and artist’s books on a sustained basis since 1970<\/strong>. In addition to these publishing collaborators, the artist participated in various publishing projects, detailed in each case, which resulted in the creation of prints, artist’s books, folders, catalogs, posters, and exlibris. These works linked T\u00e0pies with various fields of culture, science, medicine, education and politics.<\/p>\n

\"z-antoni-tapies\"
Aquatint and carborundum, “Z”, year 1979.<\/a><\/em><\/figcaption><\/figure>\n

Peculiar stamping methods<\/h2>\n

T\u00e0pies<\/strong> ‘ decision to employ traditional methods<\/strong> in his graphic work may derive from his emotional rejection of modern reproduction techniques, which probably prompted him to explore and later adopt classical technical means<\/strong>. This attitude of T\u00e0pies is aligned with his notable distance from contemporary industrial design. However, he did not hesitate to resort to mechanical procedures when his compositions included elements such as newspaper fragments, fabrics or rigid materials.<\/p>\n

T\u00e0pies moves away from the traditional approach of highlighting the values of the inked surface through reliefs. Although he continues to use the relief printing<\/strong> technique, he gives it a completely different meaning. Relief<\/strong> becomes intrinsically valuable and becomes the vehicle for incorporating real objects into the composition. This form of abstraction is closer to reality than any representation that seeks a high degree of similarity. Elements such as a piece of string or a pair of scissors are not only represented, but have been a physical part of the work. In this context, the relief plays a role similar to that of the footprints left by a foot or other parts of the body.<\/p>\n

The legacy of his engravings<\/h2>\n

There is often a tendency to underestimate the relevance of engravings and lithographs within the total corpus of his artistic work, relegating them to a secondary level or considering them as sporadic activities. However, it should not be forgotten that there are single prints<\/strong> that are of great importance to the artist, as well as illustrations designed specifically for bibliophile books<\/strong> and the books themselves, which in many cases constitute a work of art in their own right. T\u00e0pies had a natural and profound relationship with the book, not only as a collector and reader, but his personal inclination led him to pay special attention to the artist’s book<\/strong>, driven by its very essence and character.<\/p>\n

As far as his printing methods are concerned, the attention and relevance that the artist gave to the material is evident, but when delving into the visual aspect, the execution of his prints exudes a primordial strength that fully justifies the enduring popularity of his prints and the timeless impact of his art. These elements have consecrated T\u00e0pies as one of the great modern masters of the 20th century<\/strong>. The use of red and black colors<\/strong>, together with carefully selected materials, results in works of an apparent simplicity that, together with the quality of his graphic prints, constitute part of the legacy that the Catalan artist has left for lovers of modern art.<\/p>\n

\"carrer
Etching on suede leather, “Carrer de Wagner”, 1988.<\/em><\/figcaption><\/figure>\n

Do you want to buy an antique painting and you don’t know where to buy it? In Tandem Antiques we have works that might interest you. Click here<\/a> to see more. If you are interested in the works of Antoni T\u00e0pies<\/a> you can buy or sell with specialists in antique dealers.<\/p>\n","protected":false},"excerpt":{"rendered":"

The first incentives T\u00e0pies received to explore the field of graphic printing came from various publishers, including Sala Gaspar and Pol\u00edgrafa. Soon, the artist discovered the vast potential that this medium offered for experimentation with new techniques and materials. The material dimension of the artistic work always captured his interest intensely, becoming even the core…<\/p>\n","protected":false},"author":1,"featured_media":2869,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[81,63],"tags":[],"acf":[],"yoast_head":"\nAntoni T\u00e0pies and the experimentation of engraving | Tandem Antig\u00fcedades<\/title>\n<meta name=\"description\" content=\"Explore T\u00e0pies' artistic revolution in printmaking: from his early influences to innovative techniques and his profound impact on modern art.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tandemantiguedades.com\/en\/antoni-tapies-and-the-experimentation-of-engraving\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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