linocut


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linocut

1. a design cut in relief on linoleum mounted on a wooden block
2. a print made from such a design

Linocut

 

(also linoleum cut), a raised engraving on linoleum or on a similar polymer plastic material; the process is similar to woodcut and wood engraving. Linocut was introduced in the early 20th century. Many printmakers were immediately attracted by the distinctive qualities of the medium. A laconic artistic language and sharp contrasts of black and white can be achieved in linocuts. The softness of the linoleum results in lush and supple lines. The process is fast, and large blocks and colored inks can be used. A great number of copies are produced.

At times stylistically similar to wood engraving, linocut basically developed along another path. However, it frequently influenced the style of contemporary woodcuts and wood engravings (for example, the work of F. Masereel and the German expressionists). By the middle of the 20th century, several schools of linocutting had developed. The technique was particularly popular in the countries of Latin America. Linocuts were made by the engravers of the Workshop of People’s Graphics in Mexico (L. Méndez, A. Beltrán, A. García Bustos), by the members of the Club of Friends of Engraving in Brazil (C. Scliar, R. Katz, V. Prado), by A. R. Vigo and N. Onofrio in Argentina, and by C. Hermosiglia Alvarez in Chile. The process was often used by H. Matisse and P. Picasso (France), E. Packard and B. Randall (USA), and P. Nielsen (Denmark).

The linocut quickly became a part of the technique used by such Russian printmakers as V. D. Zamirailo, I. N. Pavlov, D. I. Mitrokhin, and O. V. Rozanova. Important Soviet masters of this medium have included V. D. Falileev, K. E. Kostenko, P. N. Staronosov, I. A. Sokolov, and V. A. Favorskii. Soviet linocut printing reached the height of its development in the late 1950’s and the 1960’s. National schools of linocutting have formed in many of the Union republics.

REFERENCES

Staronosov, P. N. Graviura na linoleume. Moscow-Leningrad, 1938.
Pavlov, I., and M. Matorin. Tekhnika graviury na dereve i linoleume. Moscow, 1952.
Levitin, E. S. Sovremennaia grafika kapitalisticheskikh stran Evropy i Ameriki. Moscow, 1959.
Leont’eva, G. K. Dorogoi poiska. Leningrad-Moscow, 1965.

E. S. LEVITIN

References in periodicals archive ?
However, the greatest champion of the British colour linocut was Claude Flight (1881-1955) an artist and teacher who enjoyed huge fame at the height of his career, although by the time of his death he had fallen into obscurity.
Picasso carried out a pair of linocuts in 1939 but began to work seriously on them with Hidalgo Arnera, a printer in Vallauris.
They also extend from such grand subjects as the Australian Commonwealth, 9th May, 1901 to Eric Thake's witty linocut, An Opera House in Every Home.
Detailed illustrations combine linocut prints with paint, pencil, and collage.
Tete de Femme: Jacqueline (Busta de Femme)," Pablo Picasso, 1959, color linocut or arches paper, published by Galerie Louise Leiris; titled, annotated and signed on recto by the printer" Tete de Femme/ Linogravure Originale de Picasso/H Arnera"
Gallery owner Al Milnes said: "In his Yorkshire studio, Ian keeps a lovingly restored old press on which he produces exquisite linocut prints.
Also shown was Survivor (1983), another linocut of a strong Black woman laborer.
Your students will also enjoy learning about two master artists, as you share with them Elizabeth Catlett's linocut on paper, "Sharecropper," in "Art Across the Curriculum: The Color of Character" (page 22), and this month's Clip & Save Art Print (pages 25-28), by Katsushika Hokusai.
7) Others include a linocut by Dorrit Black, who was an initiator of modern art in Adelaide and mentor to young contemporary artists, and another by Charles Bannon called Entrance to a city.
Picasso took up linocut between 1959 and 1962, and this exhibition shows the stages by which the final image evolved and provides an insight into his creative processes.
A master sculptor and printmaker influenced by the Mexican tradition of mural and linocut making, as well as European modernism, Catlett uses her experience as a black woman to adhere the commonalties she sees between the struggles.
Confirming the presence of that prophet's escape in Frankel's thoughts, the poet's own linocut of Jonah in the whale's belly appears prominently on the book's cover, decorating a posthumous edition prepared under the close guidance of the poet's next of kin.