GRABADO EN HUECO

PUNTA SECA

CARACTERÍSTICAS

HISTORIA DE LA TÉCNICA • Siglo XV, segunda mitad.

Maestro del Gabinete de Amsterdam.

• Siglo XVI. Durero. Pocas obras.• Siglo XVII. Rembrandt. Junto

con otras técnicas.• Siglo XIX. Acerado del cobre• Finales del siglo XIX y

principios del XX: gran difusión.

• Picasso

Maestro del Gabinete de Amsterdam"Los Vagabundos“, siglo XV

Durero St Jerome by the Pollard Willow, 1512

Durero The Holy Family with St John, The Magdalen and Nicodemus, c. 1512

RembrandtThe Three Crosses (first state) 1653

RembrandtJews in the Synagogue, 1648-Etching and drypoint, 71 x 129 mm-

Muirhead Bone"Manhattan Excavations“, 1923

Muirhead Bone"The Great Gantry, Charing Cross Station“, 1906

Emil Nolde "Petriund - Jacobikirche, Hamburg"1910

Max Beckmann"Frau H“, 1923Punta seca

Max Beckmann"In the Tram Car“, 1922Punta Seca

Munch, Vampiro, 1895-1902

Joan MiróSerie noire et rouge1938Punta Seca

Anthony Gross, Defensas del Puerto, 1941

Picasso "Le Roi barbu"1960Punta Seca

AUTORESDureroRembrandt Muriehead BoneMunchNoldeBeckmanMiróChagallMatissePicasso

SOPORTE• Papel. Comparte las características de la impresión en hueco.

UTENSILIOS Y MATERIALES • Punzón o punta

En forma de cincel, para grabar líneas más anchas.

• Plancha de metal o de plástico duro.

• Tinta.

• Bruñidor.

• Tórculo, tarlatana y entenalla.

TÉCNICAS Y PROCEDIMIENTOS

• Preparación de la plancha.

• Dibujo sobre la plancha con punzón o punta seca.

• Correcciones con bruñidor.

• Pruebas.

• Entintado y estampación.

• Rebabas.

CARACTERÍSTICAS

• Técnica propicia a la improvisación

• El material no se elimina sino que se desplaza

• En planchas de metacrilato o acetato no se producen rebabas.

• No resulta adecuada para la estampación de libros

o Método directo

o Usada generalmente en combinación con otras técnicas

o Líneas de aspecto aterciopelado

o Punta cónica redondeada

• Maestro del Gabinete de Amsterdam "Los Vagabundos“ XV Punta Seca• Durero St Jerome by the Pollard Willow 1512 Drypoint, 208 x 185 mm Museum of Fine Arts, Boston. One of only three drypoints by Dürer. The possibilities of the

new medium are fully exploited. The elements are interpreted in terms of tonal values rather than plastic form. This is the most picturesque of Dürer's prints. Its strength, clarity and lighting remain unsurpassed. Unquestionably it served Rembrandt as a model. The date may have been added later by someone else. However, this date is placed on the engraving in very similar fashion to that of the Madonna with the Pear. There are some impressions of this print before the monogram; also a few where a portion of the upper left corner is inexplicably screened off, shearing off the blades of grass on the top of the rock.

• Durero The Holy Family with St John, The Magdalen and Nicodemus c. 1512 Drypoint, 216 x 190 mm Staatliche Museen, Berlin. This print is somewhat reminiscent of the Virgin with the Dragonfly, which in turn was influenced by Dürer's only forerunner in the use of drypoint, the Housebook Master. A gentle play of light and shade enlivens the faces of the bystanders, while the Virgin, built of tiny flicks and scratches, has no particular contours at all. Here Dürer, for once, approaches the Leonardesque ideal of sfumato. This is technically the most successful of Dürer's drypoints, but it is remarkable how carelessly he has handled the composition in this instance. Except in a few limited impressions the face of the Virgin is crossed out. It has been assumed that Dürer himself did this out of dissatisfaction with the plate. There remains some doubt in this regard, however. Some of the impressions before the face was obliterated are on paper with the "City Gate" watermark, which, as far as can be determined, was not used during Dürer's lifetime.

• Rembrandt The Three Crosses (first state) 1653 Drypoint and burin on vellum, 385 x 450 mm Rijksmuseum, Amsterdam Rembrandt's Three Crosses of 1653 is one of the pinnacles of printmaking. It is more like a painting than an etching. Curious as to the different effects, Rembrandt made impressions on various kind of papers, and, as here, on vellum, which absorbs hardly any ink at all. Some parts of the scene are based on other prints, but the idea for this intensely dramatic, nocturnal setting is original.

• Rembrandt Jews in the Synagogue -Etching and drypoint, 71 x 129 mm

• Muirhead Bone "The Great Gantry, Charing Cross Station“, 1906• Muirhead Bone "Manhattan Excavations“, 1923• Emil Nolde "Petriund - Jacobikirche, Hamburg“ 1910• Munch, Vampiro, 1895-1902 Puntaseca• Joan Miró Serie noire et rouge, 1938 Punta Seca• Picasso "Le Roi barbu«, 1960 Punta Seca• Anthony Gross, Defensas del Puerto, 1941