March 27, 2007
Reproducing paintings as prints enables a work of Art to reach a much wider population and in the days prior to photography is a common practice in allowing collectors to ‘collect’ pre-existing collections. Christ Church Picture Gallery selects French Reproductive Prints from one of the countries finest private collections to enable their visitors to enjoy a new perspective on original paintings in the formats of portrait, historical and mythical genre. Familiar paintings such as Raphael’s ‘Saint George and the Dragon’ are reproduced. Ferdinand Gaillard’s engraving maintains the frenetic air of the famous coup de grace and accentuates the desperate princess, the ugly wounded dragon and frightened horse with bold defined lines. The beauty of the detail in the background trees is testament to Raphael’s genius. Throughout this exhibition the finesse of the line serves to increase the drama of historical paintings. This is evident in the engravings after the work of Paul Delaroche, a French painter whose hard execution of historical figures indulges in little romanticism. Lady Jane Grey inspires a Dr Who episode, Rolling Stones song in addition to the Paul Mercuri engraving after Delaroche’s ’The Execution of Lady Jane Grey’ that is on display. Grey’s blindfolded face is milky white, indeed no one’s eyes are visible in the scene. A devoted protestant girl is about to be beheaded and the innocence, courage and terror she holds in her young face are captured in an instant. The print shows Grey to be executed in a dungeon, which is not the most accurate representation of English History. Nor is the political intrigue swirling around Charles I, ‘The King in the Guard-Room, with villainous roundhead soldiers blowing tobacco smoke in his patient face’, likely to have taken place. This adds to the curiosity of the events portrayed. In ‘Strafford led to Execution’, flailing arms stretch out of a tiny window of a prison cell window as the inmate struggles to bless a condemned man out of view, as he walks to his certain death. A pure piece of theatre is ‘Marie-Antoinette devant le tribunal’. The heroine has received her sentence and is walking away from the Convention, her face highlighted along with the frustration of a sympathetic peasant. The crowd are portrayed in a denser texture to give a convincing sense of depth. In the background is the shady silhouette of the judge.
The firm, solid and smooth finish that characterises Delaroche’s oil paintings is transferred to the print thanks to the skill of the engraver. Despite this, reproduction prints are often classed as secondary in importance to prints that have been engraved as originals by the Artist. However this exhibition shows evidence of the importance of reproduction as a genre. Engravings after the paintings of Jean Dominique Ingres are also featured. In his many portraits Ingres searches for the pure form of the model. The prints of his work trace this quest further. With fine line control, the male nude in ‘Oedipus and the Sphinx’ shows well-defined muscle tone in a good composition of mythical art. The medium of print is used to convince the viewer further of texture and dimension. An ivory sculptural quality is given to Raphael’s L’Esperance. This Predella or work of Art to frame the lower part of an altarpiece is a triptych of cherubic delight. In enjoying the successful qualities of print medium it is easy to forget the limitations; reproductive prints need to convey the oil paintings they copy without the use of impasto or colour. Further print making techniques fill in more gaps. Lithograph as a medium adds to the range of techniques. Joseph Vernet’s ‘La Tempete’ as a lithograph employs dirty black smudged clouds that are atmospheric of an all-engulfing storm. Photographic medium extends the range further.
The firm, solid and smooth finish that characterises Delaroche’s oil paintings is transferred to the print thanks to the skill of the engraver. Despite this, reproduction prints are often classed as secondary in importance to prints that have been engraved as originals by the Artist. However this exhibition shows evidence of the importance of reproduction as a genre. Engravings after the paintings of Jean Dominique Ingres are also featured. In his many portraits Ingres searches for the pure form of the model. The prints of his work trace this quest further. With fine line control, the male nude in ‘Oedipus and the Sphinx’ shows well-defined muscle tone in a good composition of mythical art. The medium of print is used to convince the viewer further of texture and dimension. An ivory sculptural quality is given to Raphael’s L’Esperance. This Predella or work of Art to frame the lower part of an altarpiece is a triptych of cherubic delight. In enjoying the successful qualities of print medium it is easy to forget the limitations; reproductive prints need to convey the oil paintings they copy without the use of impasto or colour. Further print making techniques fill in more gaps. Lithograph as a medium adds to the range of techniques. Joseph Vernet’s ‘La Tempete’ as a lithograph employs dirty black smudged clouds that are atmospheric of an all-engulfing storm. Photographic medium extends the range further.