|Part of a series on the|
|History of printing|
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. Mezzotint achieves tonality by roughening a metal plate with thousands of little dots made by a metal tool with small teeth, called a "rocker". In printing, the tiny pits in the plate retain the ink when the face of the plate is wiped clean. This technique can achieve a high level of quality and richness in the print.
Mezzotint is often combined with other intaglio techniques, usually etching and engraving. The process was especially widely used in England from the eighteenth century, to reproduce portraits and other paintings. It was somewhat in competition with the other main tonal technique of the day, aquatint. Since the mid-nineteenth century it has been relatively little used, as lithography and other techniques produced comparable results more easily. Interest in learning and using the technique grew exponentially in 1990 upon the publication of the Abrams book, The Mezzotint - History and Technique by artist Carol Wax. The Wax book was responsible for a substantial upsurge in the number of artists creating mezzotints in the United States and worldwide. Sir Frank Short (1857-1945) was an important pioneer of the mezzotint revival in the United Kingdom along with Peter Ilsted(1864-1933) in Denmark. Today's masters of the mezzotint process include Craig McPherson (b.1948), Frederick Mershimer (b.1958) and of course, Carol Wax (b.1953). The Wax book is in the process of a revised edition due for publication late in 2022.
The mezzotint printmaking method was invented by the German amateur artist Ludwig von Siegen (1609–c. 1680). His earliest mezzotint print dates to 1642 and is a portrait of Countess Amalie Elisabeth of Hanau-Münzenberg. This was made by working from light to dark. The rocker seems to have been invented by Prince Rupert of the Rhine, a famous cavalry commander in the English Civil War, who was the next to use the process, and took it to England. Sir Peter Lely saw the potential for using it to publicise his portraits, and encouraged a number of Dutch printmakers to come to England. Godfrey Kneller worked closely with John Smith, who is said to have lived in his house for a period; he created about 500 mezzotints, some 300 copies of portrait paintings.
British mezzotint collecting was a great craze from about 1760 to the Great Crash of 1929, also spreading to America. The main area of collecting was British portraits; hit oil paintings from the Royal Academy Summer Exhibition were routinely, and profitably, reproduced in mezzotint throughout this period, and other mezzotinters reproduced older portraits of historical figures, or if necessary, made them up. The favourite period to collect was roughly from 1750 to 1820, the great period of the British portrait. There were two basic styles of collection: some concentrated on making a complete collection of material within a certain scope, while others aimed at perfect condition and quality (which declines in mezzotints after a relatively small number of impressions are taken from a plate), and in collecting the many "proof states" which artists and printers had obligingly provided for them from early on. Leading collectors included William Eaton, 2nd Baron Cheylesmore and the Irishman John Chaloner Smith.
Light to dark method
The first mezzotints by Ludwig von Siegen were made using the light to dark method. The metal plate was tooled to create indentations and parts of the image that were to stay light in tone were kept smooth. This method was referred to as the ‘Additive method’; that is, adding areas of indentations to the plate for the areas of the print that were to appear darker in tone. This technique meant that it was possible to create the image directly by only roughening a blank plate selectively, where the darker parts of the image are to be. By varying the degree of smoothing, mid-tones between black and white can be created, hence the name mezzo-tinto which is Italian for "half-tone" or "half-painted".
Dark to light method
This became the most common method. The whole surface (usually) of a metal, usually copper, plate is roughened evenly, manually with a rocker, or mechanically. If the plate were printed at this point it would show as solid black. The image is then created by selectively burnishing areas of the surface of the metal plate with metal tools; the smoothed parts will print lighter than those areas not smoothed by the burnishing tool. Areas smoothed completely flat will not hold ink at all; such areas will print "white," that is, the color of the paper without ink. This is called working from "dark to light", or the "subtractive" method.
Jacob Christoph Le Blon used the dark to light method and invented the three and four-color mezzotint printing technique by using a separate metal plate for each color. Le Blon's color printing method applied the [RYB color model] approach whereby red, yellow and blue were used to create a larger gamut of color nuances. In Coloritto, Le Blon refers to red, yellow and blue as 'Primitive' colors and that red and yellow make orange; red and blue, make purple/violet; and blue and yellow make green (Le Blon, 1725, p6).
Printing the finished plate is the same for either method, and follows the normal way for an intaglio plate; the whole surface is inked, the ink is then wiped off the surface to leave ink only in the pits of the still rough areas below the original surface of the plate. The plate is put through a high-pressure printing press next to a sheet of paper, and the process repeated.
Because the pits in the plate are not deep, only a small number of top-quality impressions (copies) can be printed before the quality of the tone starts to degrade as the pressure of the press begins to smooth them out. Perhaps only one or two hundred really good impressions can be taken.
Plates can be mechanically roughened; one way is to rub fine metal filings over the surface with a piece of glass; the finer the filings, the smaller the grain of the surface. Special roughening tools called 'rockers' have been in use since at least the eighteenth century. The method commonly in use today is to use a steel rocker approximately five inches wide, which has between 45 and 120 teeth per inch on the face of a blade in the shape of a shallow arc, with a wooden handle projecting upwards in a T-shape. Rocked steadily from side to side at the correct angle, the rocker will proceed forward creating burrs in the surface of the copper. The plate is then moved – either rotated by a set number of degrees or through 90 degrees according to preference – and then rocked in another pass. This is repeated until the plate is roughened evenly and will print a completely solid tone of black.
Mezzotint is known for the luxurious quality of its tones: first, because an evenly, finely roughened surface holds a lot of ink, allowing deep solid colors to be printed; secondly because the process of smoothing the plate with burin, burnisher and scraper allows fine gradations in tone to be developed. The scraper is a triangular ended tool, and the burnisher has a smooth round end – not unlike many spoon handles.
- Ludwig von Siegen – inventor
- Prince Rupert of the Rhine
- Wallerant Vaillant (1623 – 1677, the first professional mezzotinter)
- John Smith (c. 1652 – c. 1742)
- Jan van der Vaart (c. 1650 - 1727, Dutchman working in England)
- Jacob Christoph Le Blon (1667 – 1741, German, developed colour printing, using different plates)
- Bernhard Vogel (1683–1737)
- George White (c. 1684–1732)
- Jacques Fabien Gautier d'Agoty (1716–1785, French, developed a four-colour mezzotint process)
- Richard Houston (1721?–1775)
- James MacArdell (1729?–1765, Irish)
- Edward Fisher (1730? - 1785?, Irish)
- Johann Jacob Ridinger (1736–1784), youngest son of Johann Elias Ridinger, who worked in mezzotint himself, too
- David Martin (1737 – 1797, Scottish)
- William Pether (c. 1738 – 1821)
- Valentine Green (1739 – 1813)
- John Dixon (about 1740–1811)
- Richard Earlom (1743 – 1822)
- William Dickinson (1746-1823)
- John Raphael Smith (1751 – 1812)
- John Jones (c.1755 – 1797)
- Joseph Grozer (1755 - 1799)
- John Young (1755 – 1825)
- William Doughty (1757 - 1782)
- James Walker (c.1760 – c.1823, British, moved to Russia)
- Charles Howard Hodges (1764 – 1837, English, moved to Amsterdam)
- William Say (1764 - 1834)
- Charles Turner (1774 - 1857)
- John Martin (1789 – 1854)
- James Bromley (1800 – 1838)
- John Sartain (1808 – 1897, English pioneer of the technique in America)
- Alexander Hay Ritchie (1822 – 1895, Scottish, moved to US)
- Richard Josey (1840 – 1906), engraver of James McNeill Whistler's Whistler's Mother
- Peter Ilsted (1861 – 1933, Danish)
- T.F. Simon (1877 – 1942)
- M. C. Escher (1898 – 1972)
- Yozo Hamaguchi, (1909 – 2000)
- Mario Avati, (1921 – 2009)
- Robert Kipniss, born 1931
- Toru Iwaya, born 1936
- Carol Wax, born 1953
- Sir Frank Short (1857-1945)
- Frederick Mershimer (b.1958)
- Craig Mcpherson (b.1948)
- Portrait of Miss Voss as St Agnes 1690s
- "Definition of MEZZOTINT". www.merriam-webster.com.
- Griffiths, 134–137 and 141–142
- Le Blon, Jakob Christophe (1725). Coloritto; or the Harmony of Colouring in Painting: Reduced to Mechanical Practice under Easy Precepts, and Infallible Rules; Together with some Colour'd Figures. Retrieved 4 July 2020.
- Mortimer, Cromwell (1731). "An Account of Mr. J. C. Le Blon's Principles of Printing, in Imitation of Painting, and of Weaving Tapestry, in the Same Manner as Brocades". Philosophical Transactions of the Royal Society of London. 37 (419): 101–107. doi:10.1098/rstl.1731.0019. S2CID 186212141.
- Alexander, David (1996). "Mezzotint". In Turner, Jane (ed.). The Dictionary of Art. Vol. 21. New York: Grove's Dictionaries. pp. 414–418. ISBN 9781884446009 – via the Internet Archive.
- Robinson, Gerald Philip (1911). Encyclopædia Britannica. Vol. 18 (11th ed.). Cambridge University Press. pp. 351–353. This includes a detailed description of mezzotint history and methods. . In Chisholm, Hugh (ed.).
- Griffiths, Antony (ed), Landmarks in Print Collecting - Connoisseurs and Donors at the British Museum since 1753, p. 138, 1996, British Museum Press,ISBN 0714126098
- Griffiths, Anthony (1996). Prints and Printmaking: an Introduction to the History and Techniques. Berkeley, Los Angeles: University of California Press. pp. 83–87. ISBN 0-520-20714-9. OCLC 1036831840 – via the Internet Archive.
- Wax, Carol (1990). The Mezzotint: History and Technique. New York: H. N. Abrams. ISBN 0810936038. OCLC 556199574 – via Google Books.
- Metropolitan Museum of Art: The Printed image in the West: Mezzotint
- Mezzotint with Guy Langevin @YouTube
- National Portrait Gallery, London: The early history of mezzotint and the prints of Richard Tompson and Alexander Browne
- Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on mezzotint
- Mezzotint and other similar printmaking techniques
- Mezzotint / Art of Darkness, An exhibition of classical and contemporary mezzotints curated by Carol Wax and Earl Retif at the New Orleans Museum of Art. Illustrated th 58 artist biographies
Media files used on this page
Tab. XXI c. Die Buchdruckerei. (Beschreibung lt. Quelle)
Grafik aus dem Klebeband Nr. 1 der Fürstlich Waldeckschen Hofbibliothek ArolsenMotiv: Amalie Elisabeth von Hanau-Münzenberg, Ehefrau von Landgraf Wilhelm V. von Hessen-Kassel
"Sunshine Falling on a Door"
Author/Creator: unknown, Licence: CC BY 4.0
Muscles of the sole of the foot. Colour mezzotint by A. E. Gautier d'Agoty after himself, 1773.
Keywords: Jean Nicolas Jadelot; Arnauld-Éloi Gautier d'Agoty
Author/Creator: unknown, Licence: CC BY 4.0
Saint Agnes. Mezzotint by J. Smith, 1716, after Sir G. Kneller.