Dame Elizabeth Blackadder,Painting and Printing Techniques and Ideas

Dame Elizabeth Blackadder: Painting and Printmaking Techniques and Ideas

Elizabeth Blackadder (born 1931)

Elizabeth Blackadder is both a painter and printmaker. She was inspired at a young age by reading, flowers, plants and botanical studies and these interests are reflected in her works. While studying Fine Art she studied early Byzantine art, which is noted for its abstract, flat, decorative anti-naturalistic style and I think that this influence is especially evident in her still lifes, where she uses space in an inventive way. Whilst at University her Dissertation was on William McTaggart who is known for his Impressionist style of loose brushwork. In some of the examples of Blackadder’s work there is evidence of loose, expressive brushwork. Her early travels to Europe were a great influence, and in France she became more aware of Henri Matisse. As a result, seems to have lightened her palette. In the 1980s she made a number of trips to Japan. Her use of space may have been further inspired and influenced by the principles of Zen, as characterised in many of her works.

I watched a clip of Blackadder Elizabeth Blackadder uploaded by the National Galleries of Scotland, which features their Senior Curator, Philip Long in conversation with her.

https://vimeo.com/25711526

This video followed Blackadder at work in her studio and garden. It was interesting to see how she worked. We saw her in the garden developing a water colour painting from a pencil drawing and in her studio standing at the easel painting from objects around her. At one point she was holding a small object in her hand and painting from it. She surrounds herself by mementos from her life which she incorporates into her work. Often, they are from her travels and include a number of oriental items from which she draws inspiration. We learned something of her background, her love of flowers and plants and what drives her. For example, we saw oriental figures, boxes with designs, a kimono, fans, and a Chinese lantern. Blackadder is interested in drawing and painting objects and is stimulated by the world around her. She prefers her paintings to speak for her. She does not over-conceptualise her work and is reticent to talk about her practice. However, her paintings can be unusual in a number of respects. It is clear the she pushes compositional boundaries and exploits emotional aspects of souvenirs and memories in her still lifes. Her landscapes are usually more conventional in composition.

Elizabeth Blackadder, Venice window, 1950s, oil on canvas, University of Sterling

I chose this image because of the fascinating contrast between the external view of Venice as seen through the window and the still life collection of objects on the left. The “still life” overlaps the window to the right and drops below the window line above. This concept provides a complex use of space. The shapes outside are architectural features one would see in Venice, such as domes, whilst below there is a panel of multi-coloured triangular shaped stained glass. To the left, and on a light background we see an array of objects, perhaps on a table in the room. The theme is constant, including a Roman style vase.

In the two examples below, we see Bladder’s fascination with flowers and plants. The use of plants can give a real sense of place to a painting or a print.

Lilies and Poppies, 2003, coloured etching, The Scottish Gallery

Orchidaceae Taeniophyllum Latipetalum, 1992, coloured etching, The Scottish Gallery

The etching, Japanese Garden, Kyoto, is an example of how Blackadder has used her travels to produce imaginative works, evocative of the location, by employing distinctive line, shapes, and colour.

Japanese Garden, Kyoto, etching, 1992, Hayletts Gallery

In Rome, she has really captured the feeling of the imposing architecture, which dominates the landscape. Below we see Tempio dei Castori, an etching version which maximises the use of line, and a print using carborundum, which exploits the painterly nature of the medium.

Tempio dei Castori, Rome, 2002, etching and aquatint, The Scottish Gallery

Tempio dei Castori, Romw, 1999-2000, carborundum

In contrast, in her etching, Venice Crane, High Tide, we see a less glamorous view of the City. The views of Rome and Venice are quite sketchy, unrefined and there is evidence of “foul Biting” (when the acid eats into the metal plate and produces what is generally regarded as a “flaw”). Blackadder, does not seem to mind such results and I have noticed it in many of the prints I have looked at. There is the view that foul biting adds to the authenticity of the print and can provide background texture and atmosphere – something which I think works better in some situations than others, such as here in this “industrial” view.

Venice Crane, High Tide, 2000, etching, The Scottish Gallery

 Relevance to my work

I can see how some aspects of Blackadder’s work may jar with some viewers. She has been criticised for her “flat” compositions which have very little depth, and what some have described as a naïve or simple style. However, I admire Blackadder’s creativity, and the vitality which her work exhibits. As the above examples show, looking at her paintings and prints is evidence as to how scenes and places can be enhanced by the introduction of flower/plants, mementos, memories, use of space and techniques. I will be able to try out some of her ideas in my own work to evoke the sense of place. In particular, I have learned the following:

Foul biting/flaw: Blackadder’s prints often have foul biting, where the acid has accidentally bitten into the metal ground and made marks. Also, sometimes Blackadder works over old prints or uses the back of previous prints. Doing this inherently incurs certain flaws in the finished work. This adds to the texture, atmosphere and “aged” look of some her prints. This made me realise that such results should not necessarily concern me too much in my own work as it is part of the process and can add to the uniqueness and charm of a print.

Colour applied “á la poupée”: it is more authentic to add colour to a print using the print making process (i.e. as opposed to adding colour later e.g. with water colour). There are two methods of adding colour while inking the plate up. The first is to add different areas of colour and to blend them where they abut. The second method, known as “á la poupée” (from the French, meaning using a “dolly”) entails carefully applying ink to certain confined areas and keeping the colours separate – we see Blackadder use this method a lot in her flower studies. Although I have tried both methods in the past, I do need more practice and  I shall experiment with some future prints, trying different effects.

Carborundum: As can be seen from Blackadder’s print Tempio dei Castori (above), she has used carborundum to add texture and drama to the print in a painterly way. Although I have added carborundum grit to a collagraph to create texture and to hold the ink for more tone, I have not used it on its own in this way to create a whole image. This is something which I could explore further.

References:
https://vimeo.com/25711526
Allan C. (2003) Elizabeth Blackadder Prints. Lund Humphries, Aldershot.