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ICART Louis
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Miss Liberty |
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Year Created : 1917 |
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Media : Graphics |
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Technique : (Engraving) Etching |
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Edition : Numbered 109/150 |
| Support : Rives paper |
| Signature : Hand Signed in Pencil |
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Total size : |
28.74 x 21.06 inch
(73 x 53.5 cm) |
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| Image size : |
19.29 x 12.6 inch
(49 x 32 cm) |
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Packing Weight : 1kg |
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Item # : LIcar085 |
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Condition : - Excellent and never been framed
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Description :
Original etching, hand signed with pencil.
- This is numbered 109 from a limited edition of 150.
Edition Size:
- 150 exemplars numbered 1/150 to 150/150 on Rives BFK [AD.V.-ALCKE] paper.
REFERENCE:
This artwork is referenced in The catalogue raisonne "Louis Icart - The complete etching"; by William R. Holland, 4th edition Page 43 illustration 85.
FR:
Eau-forte originale, signée au crayon.
- Porte le numéro 109 d'une édition limitée à 150.
Justification du tirage:
- 150 exemplaires numérotés 1/150 à 150/150 sur papier Rives BFK [AD.V.-ALCKE].
REFERENCE:
Cette oeuvre est référencée dans le catalogue raisonné "Louis Icart - The complete etching"; par William R. Holland, 4ème édition Page 43 illustration 85.
ADDITIONAL INFORMATION:
1917-1918 War Periods
During World War 1, Louis Icart served France in the Infantry and later as a pilot in the Air Corps. He had a firsthand opportunity to appraise the sad mix of courage, patriotism, and horror associated with such a cataclysm. As an artist, he was compelled to represent what he saw through his work. Unfortunately, his responsibilities as a soldier limited the total number of etchings he could produce during these war years. Icart began to experiment by printing the same plate on different types of paper. We find works printed on both the thin, waxy Japon paper, as well as the heavier Arches and Van Gelder papers. Pencil notations of edition size are usually found in the lower left-hand margin. Pieces were usually printed with an edition of 25 works on Japon paper, while 75 to 150 sheets of a heavier paper were run from the plate as well. Including all the types of paper used, the total edition size would equal 100 to 175 works.
War etchings never bear any impressed seals or printed logos from either a printer or Icart himself. Similarly, they have no copyright notations to aid us in giving them exact dates. All pieces do bear the artist's pencil signature in the lower right-hand margin. Again, it is the "early signature"; more open and free-flowing than that we commonly associate with later works. Some of Icart's war etchings strike collectors as a bit traditional or predictable.
However, it is most likely the somber mood of war reflected in these works that encourages such a viewpoint. For these pieces must be taken in the context of the patriotic emotions they strove to evoke. They were highly symbolic; meant to represent the combined will of the people to staunchly preserve their liberty. Therefore, we might expect these etchings to depict determined, unyielding soldiers, or classically-dressed women bearing the standards of Allied nations. Icart purposely composed them to be solid and statuesque in both feeling and appearance.
Icart's technical ability in engraving the war pieces is superb. Their beauty far outweighs the importance of the severity of their mood. His models are excellently drawn and posed. They begin to take on weight and substance. Icart begins to develop more realistic settings that clearly reassure the observer that the events depicted are occurring in real time and space. And in several works, the artist employs technical devices that imply movement and inherent energy to people and objects. Things are bursting, tumbling, flying and surging forth.
By far, the most popular etchings produced during the War are those that first offer a glimpse into Icart's fruitful imagination. Take for example the spectacle of the personification of Liberty as a woman exploding forth from the muzzle of a cannon. And even more satisfying, the hovering flight of a lady whose robe becomes wings amidst a raging dogfight of biplanes. Icart has realized his ability to excite the audience through powerful visual imagery.
Perhaps more than in any other phase of his career, in the War Period Louis Icart allows his personal feelings to show through his etchings. His presentation clearly warns us of the stark savagery and futility of war. This point is even more profound when we realize just how thoroughly World War 1 was able to distract the attention of a man normally focused on pleasure and beauty. And yet, once it was over, Icart shared the desire of the world to look ahead and enjoy the freedoms that were won. The challenge to live daringly and joyously was at hand.
From The book "Louis Icart - The complete etching"; by William R. Holland, 4th edition Page 35. |
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