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Mezzotint is a monochrome printmaking process of the intaglio family. It was the first printing process that yielded half-tones without using line- or dot-based techniques like hatching , cross-hatching or stipple .
Aquatint is an intaglio printmaking technique, a variant of etching that produces areas of tone rather than lines. For this reason it has mostly been used in conjunction with etching, to give both lines and shaded tone. [ 1 ]
Saint Agnes, mezzotint by John Smith after Godfrey Kneller. [1] 1835 aquatint showing the first production of I puritani. Coquetry, lithograph by Henri Baron (1816-1885). Monochrome printmaking is a generic term for any printmaking technique that produces only shades of a single color. While the term may include ordinary printing with only two ...
Portrait of Amelie Elisabeth von Hessen, the first known mezzotint, by Ludwig von Siegen, 1642. Ludwig von Siegen (c. March 1609 Cologne – c. 1680 Wolfenbüttel, Germany) was a German soldier and amateur engraver, who invented the printmaking technique of mezzotint, a printing-process reliant on mechanical pressure used to print more complex engravings than previously possible.
The main techniques used, in order of their introduction, are woodcut, engraving, etching, mezzotint and aquatint, although there are others. Different techniques are often combined in a single print. With rare exceptions printed on textiles, such as silk, or on vellum, old master prints are printed on paper.
The term usually refers to the arts that rely more on line, color or tone, especially drawing and the various forms of engraving; [2] it is sometimes understood to refer specifically to drawing and the various printmaking processes, [2] such as line engraving, aquatint, drypoint, etching, mezzotint, monotype, lithography, and screen printing ...
Before the invention of tonal intaglio techniques such as mezzotint and aquatint surface tone was really the only way to add tonal effects, but the technique sometimes continued to be used with the new tonal techniques, especially in the etching revival than began around 1850, the "most visible characteristic of [which]... was an obsession with ...
Jean-Pierre-Marie Jazet married Félicité Moreau. [2] Their two sons Alexandre-Jean-Louis (born 10 May 1814) and Eugène-Pontus (born 1 May 1816) were both engravers, [1] whilst their daughter Louise-Georgina (born 29 September 1822) married Théodore Vibert, with whom she had Jean-Georges Vibert and Alice Vibert, the latter marrying Étienne-Prosper Berne-Bellecour.