3 To learn more about the introduction of color in lithographic printing, see Michael Twyman, A Histo (.).These artists relied on the printer’s skill to materialize their drawings in color lithography, and many in this period chose to work with one in particular: Auguste Clot. Because of its ease of execution, lithography became the medium of choice for painters hoping to further their chromatic investigation.
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Artists could draw directly on the lithographic stone using oil crayons or use transfer paper and then turn more complex aspects of the process over to a professional printer. Artists were drawn to color lithography in particular because it did not require that they learn the printing technique. Many avant-garde artists, including Impressionist, Symbolist, Neo-Impressionist, and Nabi painters, explored color in their practice and sought additional formats for their experimentation. By tracing the printer’s role in the crafting of these works, this article argues that his collaboration helped to ensure the artistic status of these prints, elevating them as original artworks above commercial chromolithographs, which were made through similar industrial techniques and circulated widely in the period.ģ Printmaking, and color lithography specifically, attracted painters in 1890s France. Though the printer’s practice was borne of industry, it was recast as artisanry for the production of art color lithographs in this period. 2 Lautrec’ s depiction associates the album’s title “ l’estampe originale ” or the original print-in this case the limited edition art color lithograph-with the artisanal work of the master printer and the intimate space of his workshop. 2 In La Lithographie originale en couleurs (Paris: L’Estampe et l’affiche, 1898), art critic André Me (.)Ģ Indeed, it was this lithographer, Père Cotelle, who printed the lithographs for Marty’s album, including one hundred copies of Lautrec’s limited edition print.L'article postule que le travail artisanal de l'imprimeur et sa collaboration cruciale avec les artistes se sont avérés essentiels pour élever les lithographies d'art originales en couleur au-dessus de leurs équivalents commerciaux. Cette étude examine la formation industrielle, le travail manuel et l'expertise technique de l'imprimeur en matière de couleur, élément esthétique et matériel déterminant du médium. Clot est devenu un collaborateur inestimable, effectuant les laborieuses étapes nécessaires à la production de lithographies d'art en couleur, de la préparation à l'impression finale.
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La lithographie attirait les artistes parce qu'elle ne nécessitait pas qu'ils maîtrisent les aspects techniques de la gravure ils pouvaient dessiner sur la pierre ou le papier de transfert, puis laisser les étapes plus complexes à un maître imprimeur comme Auguste Clot. Dans les dernières années du XIX e siècle, de nombreux peintres d'avant-garde parisiens se sont tournés vers la lithographie comme nouveau moyen d'approfondir leur exploration chromatique.
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