Experimentation as a structuring element in José de Guimarães’ innovative printmaking work

• António Canau ^[1]
  1. [1] Universidade de Lisboa

     Universidade de Lisboa

     Socorro, Portugal

     
• Localización: Tradition and Innovation / Mário Say Ming Kong (aut.), Aleksander Józef Olszewski (aut.), Martin Simonson (aut.), Andreia Garcia (aut.), Jorge Nunes (aut.), José Lopes Morgado (aut.), Santi Centineo (aut.), Andrea Iezzi (aut.), Irina Seits (aut.), Taisia S. Paniotova (aut.), Maxim Romanenko (aut.), Valdomiro Ceolin (aut.), Francisco Oliveira (aut.), Margarida Louro (aut.), Carla Chiarantoni (aut.), António Leite (aut.), Denise Gaudiot (aut.), João Pernão (aut.), Laura Martins (aut.), Andre Santos (aut.), Catarina Rosa e Silva de Albuquerque (aut.), Jéssica Costa (aut.), Ljiljana Čavić (aut.), Leonardo Barros (aut.), Maria Luisa Trindade Bestetti (aut.), Mariana Alves da Silva do Nascimento (aut.), Maria Madalena Aguiar da Cunha Matos (aut.), Maria da Luz Sampaio (aut.), Clara Vale (aut.), João B. Menezes de Sequeira (aut.), Artur Renato Ortega (aut.), Silvana Weihermann (aut.), Eduardo Francisco Durao Antunes (aut.), Pedro Miguel Gomes Januario (aut.), Paulo Jorge Garcia Pereira (aut.), Verner Monteiro (aut.), Maísa Veloso (aut.), Bárbara Silva (aut.), Mário Bruno Cruz (aut.), Clara Germana Gonçalves (aut.), Maria João Moreira Soares (aut.), Joao Miguel Couto Duarte (aut.), Raffaella Maddaluno (aut.), João Silva Jordão (aut.), María da Soledade Gómez Paiva de Sousa (aut.), Miguel Baptista Bastos (aut.), Alex Nogueira Rezende (aut.), José Vitor Correia (aut.), Ana Vasconcelos (aut.), José Cabral Dias (aut.), Eneida Kuchpil (aut.), Kate O’Connor (aut.), Sandra da Mouta Brito (aut.), Madalena Pinto Da Silva (aut.), Helena Paula Abreu de Carvalho (aut.), Marta Labastida (aut.), Maria Eunice da Costa Salavessa (aut.), José Tadeu Marques Aranha (aut.), Viviana Sofia Hipólito Frutuoso (aut.), Amilcar de Gil Pires (aut.), Wenyu Qi (aut.), João Guerreirinho (aut.), Hirbod Norouzianpour (aut.), David Weiss (aut.), Calogero Montalbano (aut.), José Silveira Dias (aut.), Fernando Moreira da Silva (aut.), Ana Moreira da Silva (aut.), Caio Marcelo Miolo de Oliveira (aut.), Rita Almendra (aut.), Ana Rita Lourenço (aut.), Tiago Perez Leitão Maciel (aut.), António Gorgel Pinto (aut.), Alberto Cruz Reaes Pinto (aut.), Gizela Horvath (aut.), Maria João Castro (aut.), António Canau (aut.), Szymon Wróbel (aut.), Isabel Gomes de Almeida (aut.), Guilherme Borges Pires (aut.), Kim Groop (aut.), María do Rosário Pimentel (aut.), Rodolfo Nogueira da Cruz (aut.), Maria Leonor García da Cruz (aut.), Olinda Kleiman (aut.), Ana Paula Avelar (aut.), Fernando Jorge Oliveira Ribeiro (aut.), Mário Carlos Fernandes Avelar (aut.), Angélica Varandas (aut.), Maria de la Salette da Costa Loureiro (aut.), Margarida Rendeiro (aut.), Raúl Montero Gilete (aut.), Eduardo M. Raposo (aut.), Gonçalo Falcão (aut.), Paulo Simões (aut.), Ana Cristina dos Santos Guerreiro (aut.), Maria da Graça dos Santos Antunes Moreira (aut.), Ana Pereira Neto (aut.), Ana Isabel Runa (aut.), Iuliana Borbely (aut.), Ermanno Aparo (aut.), Liliana Soares (aut.), Paula Maria Vieira Reaes Pinto (aut.), 2021, ISBN 9780429297786
• Idioma: inglés
• Enlaces
  • Texto Completo Libro
• Resumen

  • José de Guimarães develops work in painting, drawing, sculpture, public art, tapestry, design, and printmaking, with it formally consisting of alphabets resulting from his contact with various cultures, African, Mexican, Chinese, and Japanese.He began his artistic career as a printmaker, which is the foundation on which he structures the development of the whole of his plastic work.He works in woodcut, linocut, etching, aquatint, lithography, silkscreen, digital print, and boulders, being the only Portuguese artist to use the latter, revealing in all of these a perfect understanding of their expressive potential, never using them in a subsidiary way to other forms of plastic expression. Making unorthodox print proofs from the same matrix, he experiments with various types of inking processes, printing without ink, and chromatic variants. He alters the proofs manually after printing, with unusual materials such as ground glass, obtaining unique works, and a more comprehensive range of formal solutions from the matrices, in contrast to the repetition of the same images obtained in conventional printing. This innovative and experimental incorporation of the most varied elements at a thematic and material level in his prints execution is the basis for structuring his printmaking work.