Product Description Upon his death in 1953 David Milne was hailed by art critic Clement Greenberg as one of the greatest artists of the time. Among Milne's many achievements was the invention of the multiple-plate colour drypoint. This entirely new process was the simplest of techniques. Lines are scratched into copper or zinc plates, creating a residual metal "burr" that later catches the ink, creating soft lines more akin to drawing than to the finely detailed lines of etching or engraving. Milne exploited his invention to gorgeous effect but despite - or perhaps because of - his mastery of it, other artists did not follow suit. Decades later, John Hartman was inspired to take up the technique and has produced a remarkable body of prints that shares much in common with Milne's oeuvre, in aesthetic, geographic, and spiritual terms. In order to explore the affinities between the two artists, this publication brings together forty-two prints by Milne and Hartman, including Hartman's spectacular Cities seri About the Author Rosemarie Tovell is former curator at the National Gallery of Canada and a leading authority on David Milne. Anne-Marie Ninacs is former curator of contemporary art at the Musee national des beaux-arts du Québec.

Invention and Revival: The Colour Drypoints of David Milne & John Hartman

Arts & Photography

Rosemarie Tovell

John Hartman

Anne-Marie Ninacs

History & Criticism

Carleton University Art Gallery / ABC Art Books Canada

Eternal Bridges is my prayer/poem diary that I kept through 3 years of cancer treatment and recurrences. This all leading up to my stemcell transplant. God gave me these words that I in turn textmessaged to my wife. He blesses us so. I pass these on to you.

Eternal Bridges

Unknown

Cities, the driving forces behind the economic and cultural engines of a country, are very much on the minds of Canadians in the first decade of the 21st century. The new paintings of John Hartman, one of Canada's major contemporary painters, offer an artistic vision of cities as living organisms, deeply intertwined with the natural terrain of a geographic site. Hartman has established an international reputation for is large-scale paintings of landscape animated by the mythical and the mundane stories of specific locales. His paintings of Georgian Bay, of Newfoundland, and before that, of the land around Midland and and its shadowy history of aboriginal settlement and conflict with the Jesuits there, have gained a legion of admirers and attention across Canada and internationally. Hartman's vivid landscapes excite the viewer with their abundance of colour and sense of the land as something infinite and yet possible to contemplate. On one hand, the land in Hartman's paintings is unbridled, massive and primordial, the thing that precedes Man and will outlast him; but on the other hand, it is incomplete without man's presence. No place without people, no people without place. In Hartman's new series the carbuncular accumulation of close houses and towers and cranes and docks and roads that we call cities are presented as their own natural formation. Man is busy in these paintings, and though we do not see him, is as integral to the landscape as now dwarfed mountains, seas and lakes. The landscape is still front and centre but it has changed its appearance and in its extraordinary purpose, ignores Nature as Canadians used to think of it. The cities are engines. The cities are our raison d'etre.

Cities: John Hartman

Touchwood Editions

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Books by John Hartman