The Flickr Etching Image Generatr

The first image I ever took that just made me excited that I took it was here at this location. It is still in my stream today. That was about 40 years ago, and it was enough to make we know I wanted to capture moments for a long time to come. As a side note that was the only image on that roll that wasn't just completely ruined. I have seen stories about the Honor flights where they fly Vets to go see DC. Its an amazing thing to see.

Helen Frankenthaler’s 1973 etching and aquatint “Passeggiata Romana” (18/32) published by 2RC Edizioni d’Arte in Rome; collaborating printers Vallter and Eleonora Rossi.
Installation view of “Push & Pull: The Prints of Helen Frankenthaler and Her Contemporaries”
University of New Mexico Art Museum
Albuquerque, New Mexico
January 31– May 17, 2025

Giovanni Benedetto Castiglione
Etching

This is Castiglione's most celebrated etching. Like Podesta's almost exactly contemporary print, the subject is a paean - tempered with moralising details - of the artist's profession. At its heart is the personification of the painter, sporting one of the elaborate hats Castiglione so loved describing, sitting beneath the palms of Victory while Fame's trumpet sounds in celebration. Produced when its maker was intended to promote his creativity among patrons right across Europe (the dedicatee, notably, was a Dutch nobleman). The project was a success: the design circulated widely, was copied in paint, and ultimately encouraged other artists to make similar self-promotional prints, including Salvator Rosa.*

From the exhibition


Superb line: prints and drawings from Genoa 1500–1800
(October 2023 – April 2024)

Showcasing prints and drawings from Genoa's golden age, this display shone a light on an artistic powerhouse that rivalled Venice, Florence and Rome.
From the 16th to the 18th centuries, the port city of Genoa was one of Italy's major artistic centres. Nicknamed 'La Superba' ('the proud one') by the Medieval poet Petrarch, it was among the wealthiest cities on the Italian peninsula, with strong trade links across Europe and beyond.
These links and the riches they brought made Genoa a desirable destination for painters and sculptors wanting to study or find lucrative work. Superb line opens with works by the first major arrival, Raphael's pupil Perino del Vaga, who transformed the artistic scene when he came in 1528, introducing a new, modern manner seen in drawings like the Venus and Aeneas, which typifies his distinctive blend of graphic confidence and courtly stylishness.
Other prominent artists soon followed Perino's lead and, over the next 150 years, the city continued to attract even bigger names like Rubens and van Dyck. This constant injection of new blood kept Genoa at the cutting edge of artistic trends, creating a nurturing environment for homegrown talents to develop in their own right. In the following centuries the city produced a steady stream of internationally renowned painters, among them Luca Cambiaso, Bernardo Strozzi and Giovanni Benedetto Castiglione, who were especially feted for their innovative, often experimental graphic works, wowing collectors with dazzling displays of line. Featuring highlights from the British Museum's longstanding holdings of Genoese prints and drawings, this display celebrated the virtuosity and originality of the city's artists.
[*British Museum]

Taken in British Museum

Giovanni Benedetto Castiglione
Etching

This is Castiglione's most celebrated etching. Like Podesta's almost exactly contemporary print, the subject is a paean - tempered with moralising details - of the artist's profession. At its heart is the personification of the painter, sporting one of the elaborate hats Castiglione so loved describing, sitting beneath the palms of Victory while Fame's trumpet sounds in celebration. Produced when its maker was intended to promote his creativity among patrons right across Europe (the dedicatee, notably, was a Dutch nobleman). The project was a success: the design circulated widely, was copied in paint, and ultimately encouraged other artists to make similar self-promotional prints, including Salvator Rosa.*

From the exhibition


Superb line: prints and drawings from Genoa 1500–1800
(October 2023 – April 2024)

Showcasing prints and drawings from Genoa's golden age, this display shone a light on an artistic powerhouse that rivalled Venice, Florence and Rome.
From the 16th to the 18th centuries, the port city of Genoa was one of Italy's major artistic centres. Nicknamed 'La Superba' ('the proud one') by the Medieval poet Petrarch, it was among the wealthiest cities on the Italian peninsula, with strong trade links across Europe and beyond.
These links and the riches they brought made Genoa a desirable destination for painters and sculptors wanting to study or find lucrative work. Superb line opens with works by the first major arrival, Raphael's pupil Perino del Vaga, who transformed the artistic scene when he came in 1528, introducing a new, modern manner seen in drawings like the Venus and Aeneas, which typifies his distinctive blend of graphic confidence and courtly stylishness.
Other prominent artists soon followed Perino's lead and, over the next 150 years, the city continued to attract even bigger names like Rubens and van Dyck. This constant injection of new blood kept Genoa at the cutting edge of artistic trends, creating a nurturing environment for homegrown talents to develop in their own right. In the following centuries the city produced a steady stream of internationally renowned painters, among them Luca Cambiaso, Bernardo Strozzi and Giovanni Benedetto Castiglione, who were especially feted for their innovative, often experimental graphic works, wowing collectors with dazzling displays of line. Featuring highlights from the British Museum's longstanding holdings of Genoese prints and drawings, this display celebrated the virtuosity and originality of the city's artists.
[*British Museum]

Taken in British Museum

The Genius of Castiglione, 1648
Giovanni Benedetto Castiglione
Etching

This is Castiglione's most celebrated etching. Like Podesta's almost exactly contemporary print, the subject is a paean - tempered with moralising details - of the artist's profession. At its heart is the personification of the painter, sporting one of the elaborate hats Castiglione so loved describing, sitting beneath the palms of Victory while Fame's trumpet sounds in celebration. Produced when its maker was intended to promote his creativity among patrons right across Europe (the dedicatee, notably, was a Dutch nobleman). The project was a success: the design circulated widely, was copied in paint, and ultimately encouraged other artists to make similar self-promotional prints, including Salvator Rosa.*

From the exhibition


Superb line: prints and drawings from Genoa 1500–1800
(October 2023 – April 2024)

Showcasing prints and drawings from Genoa's golden age, this display shone a light on an artistic powerhouse that rivalled Venice, Florence and Rome.
From the 16th to the 18th centuries, the port city of Genoa was one of Italy's major artistic centres. Nicknamed 'La Superba' ('the proud one') by the Medieval poet Petrarch, it was among the wealthiest cities on the Italian peninsula, with strong trade links across Europe and beyond.
These links and the riches they brought made Genoa a desirable destination for painters and sculptors wanting to study or find lucrative work. Superb line opens with works by the first major arrival, Raphael's pupil Perino del Vaga, who transformed the artistic scene when he came in 1528, introducing a new, modern manner seen in drawings like the Venus and Aeneas, which typifies his distinctive blend of graphic confidence and courtly stylishness.
Other prominent artists soon followed Perino's lead and, over the next 150 years, the city continued to attract even bigger names like Rubens and van Dyck. This constant injection of new blood kept Genoa at the cutting edge of artistic trends, creating a nurturing environment for homegrown talents to develop in their own right. In the following centuries the city produced a steady stream of internationally renowned painters, among them Luca Cambiaso, Bernardo Strozzi and Giovanni Benedetto Castiglione, who were especially feted for their innovative, often experimental graphic works, wowing collectors with dazzling displays of line. Featuring highlights from the British Museum's longstanding holdings of Genoese prints and drawings, this display celebrated the virtuosity and originality of the city's artists.
[*British Museum]

Taken in British Museum

Belle Greene’s desk and chair (1906-07) and copy of Otto Schneider’s 1909 etching of her at work.
Installation view of “Belle da Costa Greene: A Librarian’s Legacy”
The Morgan Library and Museum
New York, New York
October 25, 2024 – May 4, 2025

Louis Simon Lempereur (1729 – 1807) nach François Boucher (1703 – 1770)
Silvia heilt Phyllis vom Stich einer Biene – Silvia heals Phyllis from a bee sting (1756)
Radierung – Etching, Musée du Louvre, Dépt. des Arts graphiques, Collection Edmond de Rothschild, Paris

Bienengift kann handlungstragende Rollen spielen. In Torquato Tassos Hirtenspiel „Aminta“ (Uraufführung 1573) wird Silvias Jagdgesellin Phyllis von einer Biene auf die Wange gestochen. Silvia lindert den Schmerz mit einem Kuss. Der Hirtenjungen Aminta, heftig in Silvia verliebt, beobachtet die Szene. Er gibt daraufhin vor, von einer Biene auf die Lippen gestochen zu sein, um Silvia endlich näher zu kommen.

Claude Duflos, Paris 1665 - 1727 nach/after Antoine Coypel
Venus tröstet Amor, der von einer Biene gestochen wurde - Venus consoles Cupid stung by a bee (ca. 1700)
Radierung - Etching
Herzog Anton Ulrich Museum, Braunschweig

The top of a bookcase at home – with (l to r) a long-empty bottle of Duval LeRoi champagne from Portmeirion in Wales; a wooden dove from a market in Nha Trang, Vietnam; a 1950s porcelain Byrrh ashtray from Paris, plus pine cone and fan; and an antelope figure from an indigenous craft market in Sarawak, Borneo.

Below all this is an assortment of books; while above is a framed etching from Toompea in Tallinn.

Image featured in EXPLORE

The Met Cloisters museum of Medieval art and architecture

Violet Angel - 1:750 scale gem model of Broadcasting Place, made for Feilden Clegg Bradley Studios. The final gem model was made using Jesmonite, painted resin parts and etched copper. This project focused on designing with social concern, specifically on carbon use. Level 6, External Brief, 2024.

Violet Angel - Materials tests for 1:750 scale model of Broadcasting Place, made for Feilden Clegg Bradley Studios. This project focused on designing with social concern, specifically on carbon use. Level 6, External Brief, 2024.

Violet Angel - 1:750 scale gem model of Broadcasting Place, made for Feilden Clegg Bradley Studios. The final gem model was made using Jesmonite, painted resin parts and etched copper. This project focused on designing with social concern, specifically on carbon use. Level 6, External Brief, 2024.

Violet Angel - Materials tests for 1:750 scale model of Broadcasting Place, made for Feilden Clegg Bradley Studios. This project focused on designing with social concern, specifically on carbon use. Level 6, External Brief, 2024.

Violet Angel - Materials tests for 1:750 scale model of Broadcasting Place, made for Feilden Clegg Bradley Studios. This project focused on designing with social concern, specifically on carbon use. Level 6, External Brief, 2024.

Violet Angel - Materials tests for 1:750 scale model of Broadcasting Place, made for Feilden Clegg Bradley Studios. This project focused on designing with social concern, specifically on carbon use. Level 6, External Brief, 2024.