British Museum blog

‘Eerie’ innovation from the seventeenth century


An Van Camp, curator, British Museum

If you visit Room 90 on the fourth floor here at the British Museum, you will find a display of some of the stranger prints in our collection. Hercules Segers and his printed paintings, is on show just outside the study room of the Prints and Drawings department and is a rare outing of the unusual and weird-looking etchings created by this visionary printmaker. Honestly, they attract the amazement of everyone who lays eyes on them.

Distant view with a mossy tree branch

Distant view with a mossy tree branch

Hercules Segers lived and worked at the beginning of the seventeenth century. He created prints that looked completely different from anything that came before. While other printmakers tried to make identical impressions of their engraved works in order to distribute them to a large market, Segers wanted to create unique works of art.

Every single one of his prints looks entirely different from any other one and the eeriness and desolation they emit makes them stand out from other artists’ work from the same period. This is because, after the printing process, Seger’s hand-coloured most of his works in a wide range of colours, from aubergine purple to olive green (see Distant view with a mossy tree branch: S.5528), while the etched lines are often printed in blues, greens or even bright turquoise (see River valley with a waterfall: S.5519). While most prints of the time were made by applying black to white background, he went against the grain and printed one of his etchings in white on a black background (see Ruins of the Abbey of Rijnsburg: 1854,0628.73).

Segers also invented a completely new printmaking technique called sugar-lift etching, creating darker areas within the landscapes which look grainy upon closer inspection and evoke a sense of the supernatural (see Rocky mountains with a plateau: S.5521).

It is no surprise that when I became curator of Dutch and Flemish drawings and prints in 2010 I was itching to share my passion for this eccentric artist with the Museum’s visitors who I am sure will grow to love his colourful works.

Hercules Segers and his printed paintings is in Room 90 until 16 May, and An Van Camp will be giving a gallery talk on 3 May.
Read more about Segers’ printmaking techniques.

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  1. Always loved the sugar-lift process in art school.
    Great to learn about the work of the originator of the process.

    Like

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Another #MummyMonday space: it's Room 63 – together with Room 62 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. As it's #MummyMonday here's Room 62 – together with Room 63 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. It's time for our next #MuseumOfTheFuture gallery space. This is Room 61, the Michael Cohen Gallery of Egyptian life and death (the tomb-chapel of Nebamun). The British Museum acquired 11 wall-paintings from the tomb-chapel of a wealthy Egyptian official called Nebamun in the 1820s. Dating from about 1350 BC, they are some of the most famous works of art from ancient Egypt.
Following a 10-year period of conservation and research, the paintings were put on display together for the first time in 2009. They give the impression of the walls of colour that would have been experienced by the ancient visitors to the tomb-chapel.
Objects dating from the same time period and a 3D animation of the tomb-chapel help to set the tomb-chapel in context and show how the finished tomb would have looked. (There is no Room 60 in the British Museum.) To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 59. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans. To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 58. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans. To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 57. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans.
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