She puzzles me

Het ontstaan van “She puzzles me”, Een highend reproductie door Zart:

1. hoge resolutie opname:

In samenwerking met een gerenommeerd fotolaboratorium hebben we het originele kunstwerk vastgelegd in een zeer hoge resolutie, om elk detail van “She Puzzles Me” te behouden.

2. photoshop finetunning:

Met behulp van Photoshop is de opname geperfectioneerd, waarbij kleuren zijn geoptimaliseerd en details werden versterkt.

3. Proefdruk op Maat Gemaakt:

Om de reproductie recht te doen, is een proefdruk op verschillende papiersoorten gemaakt. Dit proces hielp ons bij het selecteren van het perfecte papiersoort. Onze keuze is gevallen op het hoogwaardige Hahnemühle Photorag Black & White-papier.

4. Gelimiteerde Oplage van 5 Stuks:

Deze highend reproductie wordt slechts in een uiterst gelimiteerde oplage van 5 stuks geproduceerd. Hierdoor wordt niet alleen de exclusiviteit gewaarborgd, maar ook de waarde van deze unieke serie benadrukt.

5. Een Museumwaardige Presentatie:

In samenwerking met experts hebben we ervoor gekozen om de reproductie te laten zweven.

Geplaatst in een verdiepte houten lijst, afgedekt met museumglas. Dit resulteert in een museumwaardig kunstwerk.

6. Goedgekeurd door de Kunstenaar:

De kunstenaar, Narouz Moltzer, was persoonlijk onder de indruk en tevreden met het resultaat.
Dit museumwaardige kunstwerk is nu beschikbaar op zart.nu. Haal de unieke schoonheid van “She Puzzles Me” in huis en ervaar kunst op het hoogste niveau.

Haal de unieke schoonheid van “She Puzzles Me” in huis en ervaar kunst op het hoogste niveau.

Een onzichtbare barrière

Het Cruciale Verschil Tussen Normaal Glas en Museumglas:

Voor Zart spelen de keuzes van materialen een cruciale rol bij het beschermen en presenteren van waardevolle kunstwerken. Eén van de belangrijkste overwegingen is het type glas dat wordt gebruikt: normaal glas versus museumglas. In dit artikel gaan we dieper in op het verschil tussen deze twee en waarom voor Zart museumglas de voorkeur geniet.

Reflecties en Ontspiegeling:

Normaal Glas:
Normaal glas kan hinderlijke reflecties veroorzaken, waardoor het moeilijk kan zijn om kunstwerken duidelijk te zien, vooral bij veranderende lichtomstandigheden.

Museumglas:
Museumglas is voorzien van een ontspiegelende coating die reflecties minimaliseert. Dit zorgt voor een helder en scherp beeld van het kunstwerk, ongeacht de belichting.

Anti-reflectiecoating:

Normaal Glas:
Dit type glas kan gevoelig zijn voor reflecties en schitteringen, wat de kijkervaring kan beïnvloeden.

Museumglas:
Met een anti-reflectiecoating minimaliseert museumglas schitteringen, waardoor de focus op het kunstwerk wordt gehouden zonder afleiding.

Bescherming tegen Stof en Krassen:

Normaal Glas:
Gewoon glas biedt minimale bescherming tegen stof en krassen, waardoor kunstwerken kwetsbaar kunnen zijn voor beschadiging.

Museumglas:
Museumglas biedt fysieke bescherming tegen stof en krassen, wat essentieel is voor de duurzaamheid en het behoud van kunstwerken.

Terwijl normaal glas wellicht geschikt is voor alledaagse toepassingen, wordt museumglas beschouwd als de gouden standaard in kunstbehoud. Het combineert ontspiegelende, UV-blokkerende en anti-reflecterende eigenschappen om een optimale omgeving te creëren voor het presenteren en beschermen van waardevolle kunstwerken. Of je nu een kunstliefhebber bent die zijn collectie wil behouden of een galerij die hoogwaardige presentaties nastreeft, de keuze voor museumglas is een investering in de toekomst van kunst.

Copying is as Old as the Hills

In Zart’s series Thoughts about Print and Printmaking, we discuss topics based on questions raised by Zartians and Zartists. In our daily life a printmakers, we meet numerous people with ideas and questions. Hence, Zart started to publish a range of articles that will address matters such as copying, authenticity, and status of print in the art scene. Blogger Marceline Geelen gives her view on the matter of copy.

Copying is as Old as the Hills

By Marceline Geelen

Copying of art a dirty word? It’s as old as the hills! The famous Rembrandt van Rijn was so busy drinking, hitting on women and being The Man that he gathered students who could do his job, copying his style meticulously. All he had to do was put his signature at the bottom. Et voilà, a new Rembrandt was born.

What if you live in the mountains, but you love to paint seashores? You go on the Internet and choose a picture or painting – possibly originally made by a well renounced artist and now reproduced by you as if it were the original. Is the painting less beautiful after you copied it?

Good artists, bad artists
In 2014, BBC Culture highlighted an article titled ‘Good artists copy, great artists steal’. Without context, this seems a pretty bold statement, but philosophically speaking, if you dig deeper into the matter, there’s much more than meets the eye. ‘Counterfeiters copy and conceal they are doing so’, is stated in the article. ‘Students copy, as artistic training. Assistants copy, as labor for more famous artists’ (hence Rembrandt, red). ‘But as Sturtevant shows, the border between original and copy, invention and plagiarism, is constantly up for negotiation’.

Authority and authorship
The thin line between art and copy has been a subject of debate for as long as remembered: ‘Sturtevant, who died earlier in 2014 at the age of 89, was faking Warhol and Lichtenstein and Johns – but she was faking the act of faking them too, using the techniques of a parodist  – or criminal forger – for much bolder ends. Philosophically sophisticated but not at all conceptual in execution, Sturtevant’s art actually hinges less on copying than on the big questions of authority, authorship, circulation and history’.

Installation by Elaine Sturtevant

Hyde Park, Serpentine Gallery — “Sex Dolls” (2011), art installation by Elaine Sturtevant. Image: Willard, Source: Flickr Creative Commons

Upper class
If art is only available to look at in a museum, or exclusively affordable for the upper class, what is the sense of it? Why aren’t we all so privileged that we can enjoy our favorite painting every day – above our own couch, in our own living room? Or at least a one-on-one print of it?

We’re positive that none of us will be less impressed by ‘only a print’ of our favorite picture. From experience, we know that we generally lavish our eyes every time again when we look at it, over and over discovering new aspects and details. Details we would never have figured out by just watching the piece of art for a few minutes in a museum or gallery before we head over to the next one. Just sayin’.

 

Why Do We Multiply?

Everyone knows what a Platypus looks like, can envision the rings of Saturn, imagine a blue whale, ‘knows’ how lava flows, or even search for an X-ray scan of a Masai warrior’s chest. From the cradle to the grave we are bombed with visual input. With each image that rushes into our world our concept of the world grows. There is practically nothing we did not see before. Nothing we can not imagine. What can be known is shared. Even in real time. We obviously have a desire to pass on what we see and hear, a need for news, a passion to multiply.

Life is Sharing by A. Levine. shared by cogdogblog

Life is Sharing by A. Levine. Source: Flickr Creative Commons Licenced (BY-SA)

Sharing culture

It looks like the image has gained power over the written word with the rise of the internet. Where we used to read articles we now prefer an info graph. A good press picture is as powerful as a journalistic report. Why do we prefer images over text these days? One explanation is that an image is easier to share. It is more practical as a way of communicating with the world. When we see or hear something new we want to share this fact with our friends or who ever wants to listen. Visual information simply takes less processing time and is easily absorbed in the midst of the information overload. It is easier to digest. Thanks to modern distribution techniques sharing never was easier. An image can be multiplied by pressing a button.

Power to the image

The steady growth of the power of the image did not happen overnight. Visual culture experienced several revolutions. There seems to be a relation between the desire for news and the art of printing. More specific, we are referring to the art of multiplying. People set out by manually copying on a small-industrial scale. Then there was the invention of printmaking like engraving woodcuts, lithography, followed by working with rotary presses, photography, film and motion picture, television, the digital image, and finally the ubiquitous ability to create images and immediately share them with the whole world through the internet. Apart form all kind of psychological aspects, one of the main reasons we share our images with the world because we can. Because we have the techniques.

mage from page 14 of "A short history of the printing press and of the improvements in printing machinery from the time of Gutenberg up to the present day"

image from page 14 of “A short history of the printing press and of the improvements in printing machinery from the time of Gutenberg up to the present day”. Source: Flickr creative commons

News

In the past, let’s say in the Middle Ages, images were rare. A man knew the faces of his fellow villagers, the local landscape with its buildings and animals in it. The only variation on the images of the familiar surroundings formed the predictable change of the seasons. Maybe he saw a stained glass window in the local church, a painting or fresco, a pair of saints or a tapestry. New visual input was rare. News in general was an extraordinary thing. News usually came in the form of spoken word, storytelling, songs and gossip. Nowadays we consider visuals also as news.  Visually, news could be a new face to watch, perhaps a strange pair of trousers or unknown keel or cap to stare at, and stories from behind the horizon to listen to.

Hunger for news

One can imagine that the hunger for visual input due to lack of outside impulses led to intense studies of things and creatures that were available in the direct surroundings. The average person in the Middle Ages may have known in detail all trees, plants, animals and people in his habitat. Botanists and travellers drew in detail what they saw. Most imagery was religious or scientific by origin. It did not take long before popular images were reproduced by copyists in monasteries and studios. By hand. This changed radically with the invention of the printing press in the 14th century. Pamphlets, prints and illustrated books spread over Europe. With the books and illustrations a world of ideas also spread. Like in today’s FB updates, people wanted to share their view on the world.

So we share our images with the world because we have the technique. Thanks to modern distribution techniques sharing never was easier. The techniques are constantly renewed but the need to share news and things that surprise us or emotionally hit us, remains the same. Did anything really change?  

Joep Zijp

Joep Zijp

Every now and then Zart invites a guest writer to say something about art, printmaking, graphic design or photography. This week we are highly indebted by by Joep Zijp for his contribution. Joep whas journalist and editor  for several media and worked for publishing house Sanoma among others.

The Accidental Artist

Incidentally, Zart invites artists to write a guest post. When asked to do something for Zart on art and photography, David de Leeuw is for once at a loss for words. This does not happen very often. David is a senior editor and journalist in the first place. He did not take his work as a photographer very seriously at first. Until the success of his recent photo series Reflections blew everyone, the artist included, away. As so many others before him, he is an accidental artist really. Read his story.

The Accidental ArtistDavid de Leeuw

By David de Leeuw

Writing a blog post? About art and photography? I really have no clue. Alright, I take pictures and Zart sells them and rents them out. That transforms my pastime into art all of a sudden. Not that you will hear me complain. Let’s proceed to tell you how I go about the business of making photos, shall I? And why I do it in the first place.

From Keyboard Mercenary to Photographer

It wasn’t until 2012 that I bought a camera, a Panasonic Lumix DMC-LX5 (compact) and started photographing for real. I was 47 then. Before that, I’d never taken pictures. I thought it was bollocks, really. ‘You can always remember where you’ve been, right?’, I thought. That turned out to be not quite the whole story 🙂 As a child, I already had a sense for moods and atmospheres, not only with people but also with environments like cities. I didn’t know what to do with that inner world of magic and fantasy. At 25, I’d already turned my writing talent into word prostitution. After a working day as a keyboard mercenary, I’m completely empty. Who knew a camera could come in handy as an instrument to express myself? I discovered that in 2011, when I started taking simple snapshots. That was fun! Likes on facebook! Hi, I’m David and I’m a facebook-likes-addict. People encouraged me to proceed and I switched to a real camera.

Mirror City

Mirror City

Reflections

I’m steadily wising up as a photographer because I ‘have to’ venture out with my camera almost every day. EXPRESS YOURSELF! the expression animal keeps on urging me. So then I take a walk and see what happens. I love puddles. When I hold my camera just above it or even dip it in, lovely reflection photographs result. Why doesn’t everyone do it this way! Tourists and locals crowd the streets and look wearily upon the kneeling fatso taking pictures of water in the gutter. They don’t know, do they. Of course, reflection photos become a bit of a standard trick after a while but I LOVE IT! A recent discovery is the vertical panoramic picture, a great way to cut out a beautiful and relatively unspoilt image in ridiculously busy city centres with ugly cars and clothes everywhere. For the past half year or so, I’ve been using a photo editing programme which shows me all the colours in black and white and how to correct warped perspective so buildings appear straight again. Sharpening is a nice tool and highlights and what have you but you must be careful not to exaggerate, however, that can be good too at times and blah blah blah, look I’m already rambling.

Photography  as a Free Zone

Bike Star

Bike Star

In principle, everything I do is intuitive and through experience, a bit of craftsmanship creeps in. I don’t read manuals, it all comes naturally and that’s the way I’d like to keep it. I don’t do assignments, photography is my free zone. Of course, I have Great Examples, from Eva Besnyö and Jacob Olie to Pim Kops, a contemporary fellow Amsterdammer. All of them real artists. Am I one, or becoming one? Judge for yourself on Zart.

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