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Mezzotint - Luca Leonelli

  • (cat.nr. 59) Allegretto, 1996. Etching and aquatint <br/>elaborated with burnisher, plate 59 x 85 cm (paper 70 x 100 cm).
  • (cat.nr. 100) Entrance, 2011. <br/>Etching and mezzotint, plate 32 x 41 cm (paper 50 x 70 cm).
  • (cat.nr. 101) Public murmuring, 2011. <br/>Etching and mezzotint, plate 32 x 41 cm (paper 50 x 70 cm).
  • (cat.nr. 115) Oracle, 2012. Etching and aquatint on zinc <br/> elaborated with burnisher, plate 59 x 40 cm ( paper 80 x 60 cm).
  • (cat.nr. 63) Great Rose. <br/>Mezzotint printed in 4 colours, plate and paper 97 x 42 cm.
  • (cat.nr. 123) Voices, 2012. Aquatint elaborated with <br/>burnisher and drypoint, plate 49 x 64.5 cm (paper 60 x 80 cm).
  • (cat.nr. 102) Eggman. <br/>Etching, mezzotint and drypoint, plate 19.7 x 14.8 cm (40 x 30 cm).
  • (cat.nr. 81) The duke's gardens, 2003. Etching, wax, drypoint, and aquatint elaborated with burnisher, 50 x 32.5 cm (paper 60 x 40 cm).
  • (cat.nr. 138) The offering, 2014. Aquatint elaborated  <br/>with burnisher on zinc, plate 29.5 x 39.5 cm (paper 60 x 81 cm).

Mezzotint

The mezzotint works in the opposite direction of the drypoint, and forces your movement, along a uniformly scratched plate, to become the moderator. With the wrist you have to apply pressure with a stubborn insistence and determination to smoothen the irregularities, in a sensitive yet cerebral search for the light that reveals the shapes. Michelangelo would have said that the black surface contains every possible figure, it just takes work to “lift them out”. But great care should be taken, because an overdose of technique stifles expressivity in the language of forms.