Following on from the surprise Damson drawing developments of episode 2, I was expecting to find new fruit subjects in Santander, Spain when I attended the IMPACT Printmaking Biennale. I came across some figs, but they were no more enticing than the surprise Welsh find of episode 1. No citrus fruits, lemons or oranges. Perhaps I was not looking in the right place.
However I met David Faithfull, a Scottish Artist when attending his ‘Squid Ink’ art work using sand silk screen printing on the Sardinero Beach : Playa Primera de El Sardinero.
He also presented his work on a panel which he began by handing out packets of what I thought were individual OAK seeds. He informed us they were OAK GALLS, a very different proposition, from which he had made prints using, focusing, inspired by the OAK, which was hanging in the Impact10 Central Library Exhibition.
Subsequently I visited the exhibition, next to David’s Liminal, Aviary exhibit, and enjoyed the prints, BUT there placed on a small ledge, were the Galls on their branch, I could feel episode 3 of the Fruits of Drawing beckoning. My trip back from Santander was long an laborious, but it gave me the opportunity to draw the Oak Galls.
There was a great breadth of printmaking knowledge and history from Andrew Bell’s 17th Century 540 copper engravings for the Encylopedia Britannica through to present day digital, laser and 3d Printing at Edinburgh Printmakers.
As a contribution to the place of Scottish print and politics Dr Lucinda Lax, from The Scottish National Portrait Gallery delivered a paper on ‘The Bonnie Prince in Print: Sir Robert Strange, Allan Ramsay, and the origins of the ‘Everso Missus’ portrait.
This was a fascinating insight into the background, context and process to make the portrait of the Bonnie Prince Charlie before he led the ill-fated army South.
Dr Lax quoted the letter sent to the artist inviting him to come to the Prince at Hollyrood : ‘Sir, you are desired to come to the Palace of Holyrood House as soon as possible in order to take his Royal Highness’s picture” The word ‘take’ seems to come from a future practice of Photography rather than a request to a traditional portrait painter.
Dr Lax thesis suggests the portrait was required to be made at speed before the Prince went south. This may have led to the use of the word ‘take’, rather to ‘paint’
Scottish Society of Art History.
The symposium was organized by SSAH and Dr Lax is looking forward to publish her paper through the Society.
Dr Lesley Logue, University of East London.
A Study of the Role of the Master Printmaker at Edinburgh Printmakers. The Master Printmaker is an artist in their own right, a technician and a collaborator.
David Faithfull presents Ed Ruscha’s books as part of his presentation on Palindromes.
David Faithfull and Dr Ruth Pelzer-Montada take questions to conclude the Symposium.
The programme at Edinburgh Printmakers
The Printmaking Workshop
10.05 – Alastair Clark, Master Printer and Studio Director.
A tour of Edinburgh Printmakers studio as an example of printmaking workshops in Scotland and more globally. He will illustrate printmaking practise through a lithography print demonstration of work by Andrew MacKenzie. Printmaking Practitioners
11.25 -Artist Andrew MacKenzie discusses his artwork, and how introducing printmaking into his methodologies changed his artistic practice.
Process & Possibilities
12.10 – Lesley Logue.
Curators talk on the exhibition Process & Possibilities and insight into Edinburgh Printmakers print archive. Printmaking in Scotland, Panel discussion
14.00 – Panel discussion concerning the history and way forward for printmaking in Scotland today.
The programme at the Scottish National Gallery on Saturday 4th is as follows: Early Development and Training
10.05 – Ann Gunn, University of St Andrews.
‘Five Hundred and Forty-two Copperplates’: Andrew Bell’s illustrations for the Encylopedia Britannica 1771-1797
10.25 – Jonathan Macdonald.
Printmaking at the Foulis Academy (1775-1773)
Scottishness and Politics
11.00 – Dr Lucinda Lax, Scottish National Portrait Gallery.
‘The Bonnie Prince in Print: Sir Robert Strange, Allan Ramsay, and the origins of the ‘Everso Missus’ portrait
11.20 – Mary Modeen and Nel Whiting, University of Dundee.
‘Groups of the manners in Scotland: David Allan – The Process and Politics of Printmaking
11.40 – Murdo Macdonald, University of Dundee.
Printmaking and Scottish Literature in the Nineteenth Century Print Collecting
13.45 – Arthur Watson, Royal Scottish Academy of Art and Architecture.
Print, Press and Cabinet
14.05 – Dr William Rough, University of St Andrews
Print Collecting in Dundee: Orchar, Haden and the Dundee Fine Art Exhibitions 1879-1881 Process
14.40 – David Faithfull, Visual Artist.
PALINDROME, REFLECTIONS IN THE SCOTTISH LANDSCAPE: Their physical and spiritual manifestations in printmaking process and concept, with particular focus on David Young Cameron’s ‘Ben Ledi’
15.00 – Dr Lesley Logue, University of East London.
A Study of the Role of the Master Printmaker at Edinburgh Printmakers
15.20 – Dr Ruth Pelzer-Montada, Edinburgh College of Art, University of Edinburgh.
Leaving the Frame: Print in Contemporary Scottish Art