Paolozzi, Eduardo
© Paolozzi, Eduardo / Glasgow Print Studio
| Title | Landscape II (Print) |
| Creator | Paolozzi, Eduardo (Artist), Glasgow Print Studio (Publisher), Duffin, Stuart (Collaborating Master Printmaker), Palmer, David (Editioning Printer) |
| Object Type | Etching |
| Object Number | 2008.499.2 |
| Date | Created 1990, Published 1990 |
| Edition Details | 14/25 |
| Edition Size | Edition of 25 plus 5 A/Ps, 2 P/Ps, Archive. |
| Material | Velin Arches Blanc (270 gsm) |
| Dimensions | Paper Height 86.2cm x Width 65.8cm, Image Height 52.5cm x Width 34cm |
| Description | Image of a head shape made from a collaged mix of landscape and machinery elements. Printed in black ink. The series of etchings, ‘Landscape I-IV' convey the detailed, intricate drawing skills of Paolozzi. The subject matter within these prints is a representation of Paolozzi's strong interest in machinery and mechanical objects, showing sections of railway carriages and pieces of condensed scrap metal. In this series of etchings, Paolozzi has taken torn fragments of his original prints and drawings and pieced them back together to produce new compositions. He has then used pen and ink to draw over the top, developing them into new images in their own right. Paolozzi is renowned for combining collage and screen print to create a mixture of detailed, intricate prints and bold, geometric imagery. His fascination with the media and commercial imagery led him to produce compositions by piecing together magazine cuttings, photographs, newspaper clippings and drawings. His technique of ripping his prints and artwork apart and piecing them back together again, is also conveyed in his sculpture, for example, ‘Michelangelo's David' of 1987 in the Tate's collection. Paolozzi has sawn apart the plaster cast of his original sculpture and placed the pieces together again by gluing wooden blocks in between each section, creating a ‘disjointed' appearance to the finished sculpture. Paolozzi's fascination with combining mechanical objects and the human form led him to develop prints and sculptures which portray a juxtaposition of man-made machinery and the human body. This can be seen in compositions such as ‘Hermes von Praxiteles' (1953), which can be seen in the National Galleries of Scotland's collection. There is a strong link between Paolozzi's sculpture and his printing techniques. There are many similarities between the ‘Landscape' etchings and ‘St. Sebastian I', a sculpture produced in 1957, which can also be seen in the National Galleries of Scotland. The surface of ‘St. Sebastian I' is rough and coarse, showing the same scratchy texture shown in the “Landscape” etchings. The subject matter is similar in that the sculpture also conveys an impression of gears, wheels and machinery. Both Paolozzi's sculpture and prints contain the same essence of collage, showing the use of built-up layers of fragmented objects and images destroyed and re-joined. Tate also have in their collection a number of prints from the late 1970s and 1980s which combine mechanical imagery with the shape of the human head. |
| Inscriptions | '14/25' handwritten in pencil bottom left of image; 'Eduardo Paolozzi 1990' handwritten in pencil bottom right of image; 'II' handwritten in pencil bottom right corner of image; '01363' handwritten in pencil top right corner verso. |
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