LITHOGRAPHY FOR ARTISTS A COMPLETE ACCOUNT OF HOW TO GRIND, DRAW
UPON, ETCH, AND PRINT FROM THE STONE, TOGETHER WITH INSTRUCTIONS
FOR MAKING CRAYON, TRANS FERRING, ETC. BY BOLTON BROWN THE SCAMMON
LECTURES FOR 192.9. PUBLISHED FOR THE ART INSTITUTE OP CHICAGO BY
THE UNIVERSITY OF CHICAGO PRESS., CHICAGO, ILLINOIS COPYRIGHT 1930
BY THE UNIVERSITY OF CHICAGO ALL RIGHTS RESERVED, PUBLISHED
FEBRUARY 1930 o COMPOSED AND PRINTED BY THE UNIVERSITY OF CHICAGO
PRESS, CHICAGO, ILLINOIS, U. S. A. PREAMBLE IT IS suggested that
one who puts out a technical book should begin by telling his
public reasons why it should believe what he says. Reluc tantly
conforming to this, I will say that I was trained as a painter,
also as an etcher, and have paid in time and labor the price
necessary to the mas tery of the operations involved in both the
art and craft of crayonstone lithography. Here is brought into
co-operation an artists lifelong familiar ity with artistic
problems and a technical grasp of the craft side of the mat ter
from graining the stone to flattening the finished proofs. The
British Museum has a practically complete set of my prints,
presumably as works of art while in the offices of the heads of
several of the best lithographic firms in New York they also may be
seen hanging, bought and placed there as examples of craftsmanship.
For a year I worked with my stones and presses in London. Then I
brought them over to my present home at Woodstock, New York. Here I
have gradually rounded out a sufficiently complete equipment Here
it is that I have done my private work, and here people sometimes
come to study with me. Here in 1919 I put out what I think was the
first published offer in thiscountry to teach artistic lithog
raphy. When I go down from this rustic retreat to New York, it is
general ly to work for the rest of the world write, lecture, print,
exhibit whatever comes up to be done. As I have worked making my
own lithographs I mean I have kept up a continuous and extensive
experimenting with a view to subordinate to my purposes various new
substances and methods. The bulk of the infor mation thus obtained
has had only a negative value but in a few instances, important
inventions of interest to artists generally have resulted. I have
not, however, in cases where these are incorporated in succeeding
chapters, thought it worth while to cumber my pages with a
continual patter of re marks as to how this or that formerly was,
or now is, done by others. Any one who wants to may do this and it
would be of interest, for sometimes the new usages vary so widely
from the old as to constitute almost a new art VII viii PREAMBLE
Indeed, when working thus, solely for my own artistic aims, I have
found this almost-new lithography more rewarding, more tempting to
new fields, more certain of getting results, more lovely in results
when got, than I ever dreamed was possible when I began. Probably
that particular new contribution which can be most readily
appreciated is the one which puts into our hands a power, somewhat
like that of the plate printer, to get tints and tones and
richnesses by manipula tions of oil and draggings of ink on the
copper plate. The lithographic achievement of analogous results is
entirely new. The results it is, not the process, which are
analogous, for you cannot smear your ink and oil on stone as you
can on copper. The means are unique, but the resultsare a richness
suggestive of charcoal, mezzotint effects of great beauty, and, as
I said, not hitherto obtained, or possible, in lithography. That I
have written in a highly condensed and, from a literary point of
view, unrewarding style is explained by the fact than any other
style would have led on to a book of quite impracticable
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