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Elizabeth Magill
Elizabeth Magill's atmospheric series of six etchings entitled Venice reflects in its individual titles key iconic features of the city: The Gondola, Grand Canal, Rooftops, San Michele, St Mark's Square, and Waterways. The series echoes a common theme in her work – that of the haunted landscape bereft of human involvement.
Technique
Etching: three plates per print, one photo-etching, two aquatint printed on 300gsm Somerset White Velvet paper. From a series of 6 etchings entitled Venice published by The Paragon Press in 2007.

Elizabeth Magill
Elizabeth Magill (born 1959 in Canada) is an Irish painter. She grew up in Northern Ireland and, having studied at the Belfast College of Art and the Slade School of Fine Art, now lives and works in London. Magill is a painter of prodigious versatility and inventiveness whose work has always drawn from a wide range of visual sources. While she often integrates photographic materials and processes into her painting in a number of novel ways, her primary focus has been the medium of painting, in all its bewildering variety. Her first major solo exhibition was at the Arnolfini Gallery, Bristol, in 1990. In the same year she was included in the 'British Art Show', which first introduced many of the most prominent younger British artists to a wider public.

Availability: In stock

£1,080.00

Venice - St Mark's Square

Venice - St Mark's Square

Venice - St Mark's Square

Etching
A metal plate, normally copper or zinc or steel, is covered with an acid-resistant layer of rosin mixed with wax (this is called the ‘ground’). With a sharp point, the artist draws through this ground, but not into the metal plate. The plate is placed in an acid bath and the acid bites into the metal plate where the drawn lines have exposed it. (If the plate is left in the acid for a long time, the technique is known as deep-bite etching: see above.) The waxy ground is cleaned off and the plate is covered in ink, then wiped clean, so that ink is retained only in the etched lines. The plate can then be printed through an etching press. The strength of the etched line depends on the length of time the plate is left in the acid bath.
Etching
Edition of 40
Signed by the artist & numbered on the reverse

£1,080.00

Sheet size
45.2 x 55.3cm
17¾ x 21¾in

Image size
28.5 x 40.2cm
11¼ x 15¾in
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Venice - St Mark's Square
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Details

Elizabeth Magill's atmospheric series of six etchings entitled Venice reflects in its individual titles key iconic features of the city: The Gondola, Grand Canal, Rooftops, San Michele, St Mark's Square, and Waterways. The series echoes a common theme in her work – that of the haunted landscape bereft of human involvement.

Additional Information

First Name Elizabeth
Last Name Magill
Artist Description Elizabeth Magill (born 1959 in Canada) is an Irish painter. She grew up in Northern Ireland and, having studied at the Belfast College of Art and the Slade School of Fine Art, now lives and works in London. Magill is a painter of prodigious versatility and inventiveness whose work has always drawn from a wide range of visual sources. While she often integrates photographic materials and processes into her painting in a number of novel ways, her primary focus has been the medium of painting, in all its bewildering variety. Her first major solo exhibition was at the Arnolfini Gallery, Bristol, in 1990. In the same year she was included in the 'British Art Show', which first introduced many of the most prominent younger British artists to a wider public.
Edition of 40
Ed Date 2007
Inscriptions Signed by the artist & numbered on the reverse
Short Technique Etching
Sheet Size 45.2 x 55.3cm
Sheet Size (Inches) 17¾ x 21¾in
Image Size 28.5 x 40.2cm
Image Size (inches) 11¼ x 15¾in
Technical Description Etching: three plates per print, one photo-etching, two aquatint printed on 300gsm Somerset White Velvet paper. From a series of 6 etchings entitled Venice published by The Paragon Press in 2007.
Technique Pop ups A metal plate, normally copper or zinc or steel, is covered with an acid-resistant layer of rosin mixed with wax (this is called the ‘ground’). With a sharp point, the artist draws through this ground, but not into the metal plate. The plate is placed in an acid bath and the acid bites into the metal plate where the drawn lines have exposed it. (If the plate is left in the acid for a long time, the technique is known as deep-bite etching: see above.) The waxy ground is cleaned off and the plate is covered in ink, then wiped clean, so that ink is retained only in the etched lines. The plate can then be printed through an etching press. The strength of the etched line depends on the length of time the plate is left in the acid bath.
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