The relation of a linear etching to an aquatint is contrast, most likely revealing the effect of multi-dfimensional spaces, hidden and revealed. This is the visual process that struck the viewers. For it displays a two or three or four dimensions that spring up in such profound relationship with the figure itself, everything has belonged to a compartmental unity. However, it it is different when I look at the lithograph, a different graphic medium, is perhaps the most difficult medium; unlike etching, it cannot blend with the figure, any slight error, any tricks or retouching technique as I have experienced is not possible... There is no transformation in either lithoraph or etching into a reversal effect.
Etching or litograph has been regarded as a work on paper, a process of multiplicity or duplicity, and can be also considered as a form of limited edition. There is originality in this work of art, every image or printed copy has produced a very personal and aesthetic distinctions between the individuality and energy in its creative proces; and, behind the separation from its fullness, like a copy as an original work of art itself, there is an external movement of unbroken relationship. Again, the original image as a copy and the aesthetic wholeness of images are not separated from one another that, not only defines its unity but also asserts itself with the subject and the object. The multi-dimensionalty of compartmental spaces drew that distinction between logical form, not visual illusion, and the originality of multiple identities that come before natural resemblance, not reflection. Yet behind the body of similitude of common forms, the expression of such energetic vibrations arising from the movement of the light and the shadow give a prescence of a starting point of dissectional sense, bringing each copy into a different existence.
For the purpose of printing, the plate is sunk under a mixture of acid and a large amount of water to eat away the open surface or an etched areas. When the image is formed, meaning that lines have been penetrated deeply, from the surface downwards or inwards, and or when a deisred depth or measuremnet has been achieved, an impression is printed on paper to produce an artist's proofs and finally, limited editions.
Shadows in etching is presented as a state of reality, in spite of its contrast with the light and tonal value, attached to a direction which the light move, that may be compressed in a small or large area by suspension of a considerable time, the figure comes to term by the compartmental process. The Three Women (Fig. 2) is seized by that form of unity. Ghoya's etchings are quite different in the sense that "Las Disastres," as he saw the war, have shown an aesthetic determination towards the chain of groundless beauty, not of the causation of the war effect. For example, the etching "Enterar y callar" has produced the cleanliness of the body and the quality of beauty at the same time. The aquatint in his work could have been forceful, acting as a body of the whole tragic spirit, but the tyrannical form and deteriorated condition have ceased, he reduces life into a useless picture of art, forming representation of aquatint-like movement. There is no bloody expression of struggle to firmly fix life by the condition of despair or hopelessness in "Las Disastres" of War; and, in the face of death, from which the victims are thread spun from the same movement of war, not only as the sufferer but also as a protester. Or, on which the victims of war have caused to struugle together, to exposed their hatred, fear snd excessive opposition to war, and never to be defeated by silence. In this tragedy, Ghoya makes art as the dominant force, the formation of his aesthetics of which the beauty of war at any angle of darkness in his view of weak protest arisng from self-expression can be seen as a result of his weakness to draw the figure in motion and at rest, depicting the peasant's face without a mark of monarch's taste for dark images. His figures in "Las Disasatres" are harmoniously decorated and altered by aquatint- in general, it is like a black suprematist square, a closed condition, lacking in energy and without substance, found in modernism and suprematism. Ghoya's etchings are a work of tragic-aesthetic chaos but not a work of political art; the same way Picasso is not a political artist. Picasso's painting "Guernica" is primarily an aesthetic propaganda, marked by cubistic forms; for all its tragic expression, thinly fragmented, like the art of speaking by symbolic signs as in the bull's face, he failed to paint the whole of reality. Moreover, Ghoya's etching is a work of still-life, not rooted to the movement of reality. His linear movement did not break away from the course of a circular-singular movement of both classical and modern art.
In Fig. 3, entitled Abu, all manner of universal expressions which reduces life to fixation of the self in the shape of abstract knots, twisted and bath in bloody expresion, has been wrap round the prisoners; a rope used in hanging of a figure in any of various torturous method. This brutality is connected withe the new Crusader's movement.
Fig.5. Title, The Far Eastern Figures and landscape; hand-colored ( yellow, green, blue, red and black); edition, 21 (edition includes 4 artist's proofs); image size, 12.5 x 18 inches. Price: $ 28,000
Fig.6. Title, The Green and The Black; lithograph; edition 36 (edition includes 4 artist's proofs); image size, 15 x 21 inches. Price: $ 27,000.
Please make check payable to Restituto Embuscado. And, mail your payment to: P.O. Box 1295 Madison Square Station New York, New York 10159
For domestic delivery: please allow three to four weeks; for international, please allow two to three months.
PASTELS AND WATERCOLORS
COMPARTMENTAL-DIGITAL-PRINT DRAWING AND PHOTOGRAPHY
Prices for the digital prints are set below:
Fig. 8. Title, Broadway no.1; image size, 7 x 9 inches; edition 42 (edition includes 9 artist's proofs). Price: $ 1, 700. Fig. 9. Title, Dissectional Woman; edition, 37; image size, 7 x 9 inches. Price: $ 1, 700. Fig. 10. Title, Gypsy. Edition, 61 (edition includes 10 artist's proofs); image size, 7 x 9 inches. Price: $ 2, 300. Fig. 11. Title, The Two Angels; edition, 55 (edition includes 10 artist's proofs); image size, 7 x 9 inches. Price: $ 1, 500. Fig. 12. Title, Woman; edition, 53 (edition includes 10 artist's proofs). Price: $ 1, 800. Fig.13. Title, Broadway no.2; edition, 57 (edition includes 7 artist's proofs); image size, 5 x 7 inches. Price: $ 1, 300.
Please make check payable to Restituto Embuscado and mail your payment to: P.O. Box 1295 Madison Square Station, New York, New York 10159
Allow four to six weeks delivery
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P.O BOX 1295 MADISON SQUARE STATION NEW YORK, NEW YORK 10159