Tuesday 11th October 2016

Initial Research: Photo Gravure Artists

BY THE END OF WORLD WAR II, photogravure had become largely a memory, despite the fact that some of the greatest photographers to have lived considered it the finest method ever of picture making. Then, in the early seventies, Jon Goodman appeared on the scene. Caught by the awe and beauty of this all-but-forgotten art, he has been passionately working to revive the method for the past thirty years. In addition to a long relationship with the Aperture Foundation producing portfolios from the negatives of photographers like Paul Strand, Edward Steichen and Alfred Stieglitz, Goodman has also made prints for many of today’s contemporary artist including Robert and Shana Parkharrison, Eiko Hosoe and Hiroshi Sugimoto.


Paul Thirkell

Paul Thirkell is an artist and educator with a particular specialisation in print. Paul studied and practised printmaking in Australia during the 1970’s and 80’s before relocating to the UK in the mid 90’s. In 2000 Paul was awarded a practice-based doctorate from the University of the West of England, Bristol for his research into integrating digital imaging techniques with rare 19th-century printing processes such as photogravure, collotype and woodburytype to assist fine art print production.


David Morrish

This new series of limited edition, hand-pulled copper-plate photogravures are documents of small, dried animal remains presented as fossil-like impressions using ink on paper.

The attraction to these fossil-like impressions of small creatures is greatly magnified by their animation. These creatures seem active, gesturing, locomotive. The gestures or implied movement of each creature contradicts their mummified state. The greatly enlarged scale allows the viewer to explore the minutiae of these usually unexamined specimens.


Paul Taylor

“These recent images are of soot-charred marks made by Byzantine Monks in the Cappadocia Region of Turkey. The Monks hewed their monasteries out of rock leaving patterns from the finishing rake on the walls and ceilings. Years of fires created a range of tonalities ideally suited for the depth and range of photogravure. This is the first body of my work printed as photogravure in over ten years.

Renaissance Press utilizes a number of photographic processes in atelier. Photogravure has been the process of choice in most of our publications. This is due to the versatile nature of the process. To my knowledge in no other photo process can the abundance of variables inherent in photogravure plate making and printing be used to create a seemingly endless array of final prints unique to the vision of the artist.”


Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s