{"id":3464,"date":"2022-10-31T17:10:44","date_gmt":"2022-10-31T16:10:44","guid":{"rendered":"https:\/\/rouault.org\/graphic-work\/"},"modified":"2022-11-04T11:07:00","modified_gmt":"2022-11-04T10:07:00","slug":"graphic-work","status":"publish","type":"page","link":"https:\/\/rouault.org\/en\/graphic-work\/","title":{"rendered":"Graphic work"},"content":{"rendered":"
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Printmaking constituted a major part of Georges Rouault\u2019s work.<\/p>\n\n\n\n

His Miserere<\/em> is considered his greatest masterpiece. Closely related to his paintings, printmaking offered him a greater form of expression through tone and shading and allowed him to develop his drawing technique.<\/p>\n\n\n\n

Throughout his career, Georges Rouault produced a rich abundance of prints using a variety of techniques including burin engraving, aquatint, lithography and heliography. His collection of graphic work consists of series of prints initially intended to illustrate books. Some of these books were published but some never made it to print.<\/p>\n\n\n\n

Rouault received commissions from Vollard (R\u00e9incarnations du P\u00e8re Ubu<\/em>, Cirque de l\u2019\u00c9toile filante<\/em>, Passion<\/em>) as well as other publishers of illustrated books such as \u00c9ditions Edmond Frapier (Souvenirs intimes<\/em> 1926, Saltimbanques<\/em> 1927-1929, Grotesques<\/em> 1927-1929 etc.), Les Quatre Chemins (La petite banlieue<\/em> 1929), \u00c9ditions Porteret (Paysages l\u00e9gendaires<\/em> 1929) and \u00c9ditions l\u2019\u00e9toile filante (Les Fleurs du Mal<\/em> 1936)\u2026<\/p>\n\n<\/div><\/div><\/div>\n<\/div>\n\n

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Miserere <\/h2>\n\n\n\n

A little over a century ago, Rouault began a series of engravings on copper plates which thirty years later would be published under the title Miserere<\/em>.<\/p>\n\n\n\n

This monumental work, whose production was as long as it was painful, Rouault considered as a representation of his artistic effort: “I was like a peasant in the field, attached to my pictorial soil, like the man hanged by his own hempen rope, like an ox under the yoke. Though terribly restless, I never took my nose out of my work save to ascertain the light, the shadow, the half-tint, the curious features of certain pilgrims’ faces. I noted forms, colours, fleeting harmonies until I was sure they were so indelibly impressed in my memory that they would stay with me beyond the grave.”<\/p>\n\n\n\n

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Find out more<\/a><\/div>\n\n\n\n
Miserere<\/a><\/div>\n<\/div>\n\n<\/div><\/div><\/div>\n\n
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\"sunt<\/a>
Sunt Lacrimae Rerum (Orph\u00e9e), Miserere 27<\/em>,<\/a> detail<\/figcaption><\/figure>\n\n<\/div><\/div><\/div>\n<\/div>\n\n
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\"Cirque<\/a>
Cirque de l\u2019e\u0301toile filante<\/em>: Le Jongleur<\/em><\/a>, 1934, detail<\/figcaption><\/figure>\n\n<\/div><\/div><\/div>\n\n
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Illustrated books<\/h2>\n\n\n\n

An amateur of deluxe books, Vollard commissioned  Rouault  with the illustrations of a number of books: R\u00e9incarnations du P\u00e8re Ubu<\/em>, Cirque de l\u2019\u00c9toile filante<\/em>, Passion<\/em>and Les Fleurs du Mal<\/em>. Rouault also collaborated with many other editors on a number of other projects.<\/p>\n\n\n\n

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Find out more<\/a><\/div>\n\n\n\n
Illustrated books<\/a><\/div>\n<\/div>\n\n<\/div><\/div><\/div>\n<\/div>\n\n\n
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Other prints<\/h2>\n\n\n\n

Georges Rouault produced an abundance of prints. Other than Miserere<\/em> and his illustrated books, many works were created as special editions or for illustrations that were never published. Rouault used a large variety of techniques. A large collection of studies and proofs in black and colour have been preserved and inventoried. There is an intimate connection between painting and printmaking.<\/p>\n\n\n\n

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Find out more<\/a><\/div>\n\n\n\n
Other prints<\/a><\/div>\n<\/div>\n\n<\/div><\/div><\/div>\n\n
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\"Point<\/a>
Automne<\/em>,<\/a> 1938?, detail<\/figcaption><\/figure>\n\n<\/div><\/div><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"footnotes":""},"_links":{"self":[{"href":"https:\/\/rouault.org\/en\/wp-json\/wp\/v2\/pages\/3464"}],"collection":[{"href":"https:\/\/rouault.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/rouault.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/rouault.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/rouault.org\/en\/wp-json\/wp\/v2\/comments?post=3464"}],"version-history":[{"count":2,"href":"https:\/\/rouault.org\/en\/wp-json\/wp\/v2\/pages\/3464\/revisions"}],"predecessor-version":[{"id":3676,"href":"https:\/\/rouault.org\/en\/wp-json\/wp\/v2\/pages\/3464\/revisions\/3676"}],"wp:attachment":[{"href":"https:\/\/rouault.org\/en\/wp-json\/wp\/v2\/media?parent=3464"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}