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Posts Tagged ‘printmaking in Spain’

Here’s a personal look at Christmastime in Granada, the result of one evening’s stroll through the streets of the city.

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Juan Carlos with his assistant director, MarioOur video/cineasta friend, Juan Carlos Romera, has taken advantage of the new YouTube service to upload the complete version of “Bive,” a 38-minute short film that he made in 2005. In that film I play “Maureen,” an English printmaker who falls in love with a Spanish fisherman. The film is essentially about the storm it causes in a little fishing village on the coast of Almería province.

We had such a great time doing it that I decided that in my next encarnation I want to be an actress. Here’s the link to see it (for free) on the off chance that you might find it amusing:

Mike did a story on the making of “Bive” (Printmaking Makes the Movies) and published it here on World Printmakers.

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Maureen and Jini, with some of the work she produced in September

Jini Grinwald made her reservation a year in advance. She wanted to spend the month of September in the Gallinero and working with Maureen in the studio. She had studied printmaking at Melbourne University, “but that was a long time ago,” and she thought she needed to learn some new approaches. “Traditional printmaking didn’t offer me enough sponteneity,” says Jini. “I needed some techniques capable of offering me more freedom, more fun, not the same old kitchen chores.”  Jini caught the plane back to Australia this morning, but before she left she had time to answer some questions in the airport coffee shop: (more…)

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City of Light

"City of Light," a liquid-metal print by Maureen Booth

This print, which I made 8-10 years ago, was actually made for a commission, the biggest one I ever got. (Some day I’ll tell you how I got it.) The client was a Parisian real-estate company with 1,000 employees and they wanted Christmas presents for all of them. The only condition was that the images had to be versions of the buildings they were making in La Defense quarter, outside of Paris. They accepted all of the prints except this one. It seemed that the architect had changed the look of the building, and this print was no longer a true representation.

No matter, I editioned it myself and introduced it into my own distribution channels. Over the years it has been an excellent seller, something I never expected from a print of an office building!

This is a liquid-metal print (http://www.youtube.com/watch?v=2E5iZYs52bM) and I think it’s the unique qualities that this technique offers which have made it successful.

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These (rather disordered) snapshots should give you an idea of what our village and its environs are like. You might like it here.

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"Tormenta," an etching by Maureen Booth

Soon after arriving in our village–this was 40 years ago–Mike and I took the kids, then eight and ten, on a picnic on the mountainside above the neighboring village of Guéjar Sierra. This was at a period in our lives when everything was new and uncertain. While Mike made a fire to roast some pork chops I got out my sketch pad and began to draw the scene below. There was one isolated stone cottage sitting there.  This used to be very common in the Spanish landscapes at that time. (more…)

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Maureen's best-loved dog, Chichirriqui

Our best-loved dog was a magical toy-terrier bitch, one of the first after our changeover from big breeds (great danes, and Spanish mastiffs) to little ones (pekes, yorkie crosses, shih tsu halfbreeds). I never fully forgave Mike for naming her Chichirriqui. He thought it was a playful name. I thought it was disrespectful for such a serious little person as Chichi, who could sit on a chair with her chin on the table and keep everybody enchanted just by cocking her head, flashing her eyes and flicking her ears first in one direction, then another. She was a delightful little one-dog circus with a wide repertory of such techniques for keeping people’s attention properly centered on her: bundy jumps, pa’ ca pa’ yas, spin arounds and shivers. (more…)

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Anglo-Spanish master printmaker, Maureen Booth, in her Granada studioI’ve just added two new videos to my Printmaking Master Classes collection of printmaking tutorials for download.

Recorded in my studio in Granada, they are:

  • Traditional Printmaking 2–This is the follow up to Traditional Printmaking 1, and discusses aquatint, sugar lift and marbling techniques.
  • Printmaking Tips–This is a collection of shortcuts, safety measures, ways of economizing and working more efficiently. Taken together they should make your studio experience more pleasant and productive.

You can find previews and order links for these new videos here on the Printmaking Master Classes site.

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El Gallinero, looking through the kitchen/sitting room past the French doors to the terrace into the bedroom/workroom.4.   The Focus—When is the last time you’ve had two or three weeks with nothing to think about, nothing to spend your time on but art? It sounds like a dream, doesn’t it? But that’s what happens to people when they arrive in Granada for one of my printmaking workshops. This is especially true of the artists who come to do one-on-one collaborative work with me. Their involvement here is total, their existence almost monastic. They divide their time between the creative cloister of the Gallinero and my studio. We usually work together for five hours each morning. Then, after lunch, they make their own hours, either working in the studio or sketching glimpses of the village and the surroundings. Some of them stay in the studio past midnight. (more…)

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California Society of Printmakers Newsletter--Homepage

Barbara Milman, an ex president of the California Society of Printmakers was here recently making solarplate prints with Maureen in the studio. When she got back home she published this report on the society’s newsletter. Thank you Barbara, for the plug! Here’s the link: http://caprintmakers.wordpress.com/

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