Also found in: Dictionary, Wikipedia.


[rə¦pü ¦säzh]
(graphic arts)
In etching, when a plate is repaired, scraped, and rubbed, there is a hollow left that will print a gray smudge; repoussage involves hammering out the hollow by putting the plate face down on a flat steel surface and tapping it gently from the back with a repoussage hammer.
McGraw-Hill Dictionary of Scientific & Technical Terms, 6E, Copyright © 2003 by The McGraw-Hill Companies, Inc.
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



the production of raised images on sheet metal. The reverse side of the metal sheet is laid against a block of special resin, and a special hammer is used to strike a raising tool applied most frequently to the face side. Repoussage is one of the oldest techniques used in decorative metalworking.


Flerov, A. V. Khudozhestvennaia obrabotka metallov. Moscow, 1976.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
Mentioned in ?
References in periodicals archive ?
Sung almost always refers to repoussage as a sign that Blake "made a mistake" of some kind, but she rarely tries to determine what the mistake could have been, or to distinguish a correction of an error from an instance in which he simply changed his mind or had a better idea or wanted to add something after a section of the plate was deeply engraved or etched.
It is very difficult to use the information in Sung's book to test one's own conjectures about revisions to the plates: there is no image provided of the hammer and chisel marks on the Chaucer plate, only an extensive, rather vague list of the general areas of the print that correspond to areas of repoussage on the plate verso--indeed, in the entire book there are only three obscure monochrome images of the versos of Blake's Job plates, one image of the recto of a lob plate, an image of a platemaker's mark, three more images of mostly non-Blake works, and diagrams of enigmatic marks on the backs of several of the Job plates.
The "Conclusion" to this chapter focuses on the implications of the many changes that Blake made to the lettering and layout in the Job plates, some of which involved repoussage. There are many different issues about revisions in both composition (layout) and verbal content that arise here, raising profoundly different questions--but in trying to connect the Job plates to the controversies involving Blake's better-known visual/verbal works, the illuminated books, Sung hopelessly tangles the many different kinds of changes that occurred and exacerbates the confusion further by adducing an assortment of irrelevant canards from the other debate.