{"id":14135,"date":"2020-01-31T10:00:28","date_gmt":"2020-01-31T08:00:28","guid":{"rendered":"https:\/\/agpograf.cmsfacil.eu\/?p=14135"},"modified":"2022-11-15T14:34:12","modified_gmt":"2022-11-15T12:34:12","slug":"pablo-picasso-linogravures-editions-cercle-dart","status":"publish","type":"post","link":"https:\/\/agpograf.com\/en\/pablo-picasso-linogravures-editions-cercle-dart\/","title":{"rendered":"Pablo Picasso Linogravures – \u00c9ditions Cercle d’Art"},"content":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space][vc_gallery type=”flexslider_slide” interval=”3″ images=”9157,9154,9160,9163,9166,9169,9184,9181,9175,9178,9172,9193,9190″ img_size=”850×566″ onclick=”” pause_on_hover=”no”][vc_empty_space height=”30px”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text]<\/p>\n

A brief overview<\/strong><\/h3>\n

[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]In the introduction of the book, published by Verlag Gerd Hatje<\/strong>, Stuttgart<\/strong> and \u00c9ditions Cercle d\u2019Art<\/strong>, Paris in 1962, Wilhem Boeck<\/strong> tells us why the great artist started to make a book with this printing technique:[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]Picasso<\/strong> had recently become an adept of cut-linoleum printing. It was a new activity, and doubtless owed to the artist\u2019s desire to give colour pride of place within printed creations when graphic arts had, until then, consigned it to a subordinate role \u2013 even in lithography. Taking up the gouge was less, for Picasso, about exploring a new realm of objects and forms, then exposing the forms he had mastered to the rigours of as-yet untested technical possibilities. As he did every time he embarked on a new task, be it sculpture, lithography, ceramics or aquatints, the result obtained can be compared to nothing but previous creations by Picasso himself.[\/vc_column_text][vc_empty_space height=”40px”][vc_column_text]<\/p>\n

Introduction<\/strong><\/h3>\n

[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]Once again \u00c9ditions Cercle d\u2019Art<\/strong> have entrusted us with an exciting project, full of technical challenges, as was the updated edition of the \u201cToros y toreros\u201d in 2017. In this case, the premise was based on the same problem, the only possible original as an element of reproduction was an original book edited and printed in a workshop in Stuttgart using the linography technique by the artist himself in 1962. Changing from a reproduction made by means of linography (Linocut<\/a><\/strong>) to an offset printing in current technology implied an important challenge, because the density and intensity of the colour are much higher in this ancient and artisan printing technique than in current graphic technologies.[\/vc_column_text][vc_empty_space height=”40px”][vc_column_text]<\/p>\n

Analysis of the work and technical proposal<\/strong><\/h4>\n

[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]After analyzing each and every one of the works that appeared in the 1962 edition, we proposed to Bernard Champeau<\/strong> of \u00c9ditions Cercle d\u2019Art<\/strong>\u00a0to print the new edition with the combination of the technique of the multi-colour-RGB and printing with our new Speedmaster LED UV, creating a specific profile for the chosen paper<\/strong>, for the exit of the EPSON tests by Les Cam\u00e9l\u00e9ons<\/strong> and a specific profile for the machine and the inks.[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]The sequence was:<\/p>\n