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Woodcuts. THE ART OF SCORING Maestro Alessandro. I WAS

The woodcut is a technique of ancient origins, wood engraving used to reproduce copies of drawings and inscriptions. On a wooden board-matrix - once the path or set design, proceed with special instruments to remove the parts that make up the image, saving the figures and their boundaries so that will remain in relief.
On the matrix due to be inked spread the sheet on which, through pressure, will be etched into the picture, mirror than carved. For a good result of the work using wood-grained and compact, and long fibers. The most appropriate are those bonds, such as cherry or pear and mountain ash and very hard bosso.
Esistono due tecniche xilografiche che si differenziano in rapporto agli strumenti utilizzati.
La xilografia a intaglio è la tecnica più antica (risale, in Europa, ai secoli XI-XII) ed è eseguita esclusivamente con l’utilizzo di sgorbie e coltelli, su matrici di filo: tavolette di legno tagliate secondo piani paralleli al tronco, talchè presentano le fibre (la venatura) nella loro lunghezza. La xilografia su legno di filo permette l’uso di legni di grandi dimensioni e, conseguentemente, un intaglio gestuale, libero e istintivo.

"FIORELLA"
XILOGRAFIA SU LEGNO DI FILO
14 cm x 22
Alessandri 1955

"PORTRAITS OF BEAUTY"
private gallery owned by Prof. Gianluigi Marianini
Wood WIRE
17 cm x 21
Alessandri 1956
The other technique is the wood engraving (the invention can be traced back to English Thomas Bewick, in 1775) and is carried out on end grain. The matrix is \u200b\u200bobtained by cutting the stem lengthwise but not across more than its height, resulting in a high surface compact and homogeneous, as the head wood fibers has "severed". An array of head incised with the tips and chisels used to direct the etching, allowing a precise and fine sign.

XYLOGRAPHY WOODEN HEAD
Alessandri 1956
The polychrome woodcut, which appears at the end of the fifteenth century woodcuts to reproduce the effect of monochromatic watercolor, uses the more matrices that create colored backgrounds or part thereof.
In the early sixteenth century were introduced two special techniques: a Dutch the Camaïeu, invented by Jost de Negker around 1510, and the other Italian, chiaroscuro, Ugo da Carpi adopted in 1516. These two cases, very often confused, are completely different. For Camaïeu need at least two sticks: one engraved with the hatch pattern, which can be printed by itself, the other going to be the spot where background with small decorations or additions to the landscape.

Philosophers Original wood-Cm. 29 x 39
Alessandri 1948

The Tumblers - Original Woodcut Cm. 29 x 39  Alessandri 1959
Nella xilografia a chiaroscuro invece vi sono matrici incise “a piatto”, che formano cioè le tinte del disegno, alla prima più chiara se ne sovrappone una di tonalità più scura che accentua alcune parti e rialza i valori tonali del disegno, poi eventualmente una terza ancora più scura e così via. Una matrice per ogni tinta per ottenere, mediante sovrapposizione, più toni: con l’utilizzo di due matrici si ottengono tre differenti toni; con tre matrici ben sette toni, ecc. Evidente quindi come in un camaïeu il primo legno inciso a tratteggio basterebbe da solo per dare il disegno, mentre nel chiaroscuro italiano è indispensabile stampare more wood. (taken from U. GIOVANNINI, Color and Freedom, the summer of woodcut in Romagna, p.. 138, Russians, Vaca, 2005).

"The Last Rose"

XYLOGRAPHY


EX LIBRIS
The woodcut also covers those small jobs engraved called Ex Libris.
's Ex Libris is a sign of ownership is a mark of possession, consisting of a card that is usually applied to the inside front cover page of a book in order to establish ownership of that volume. It shall, in the form elegant, aristocratic and artistic, the signature or stamp that is commonly used to demonstrate the possession of a volume. On this card, usually, there is the name of the owner of the volume, a motto that means in a sense characterizes the ideas, passions and tastes of the owner and then a drawing or a cartoon or coat of arms, who plays him.

Ex Libris Woodcut head

Alessandri Alessandri 1947, recorded his first Ex Libris linoleum on way back in 1942, when only fifteen years, self-taught, he won the first prize for the woodcut shows a regional youth. Since then drew over three hundred Alessandri Ex Libris, a hundred of which were made and printed in various techniques. If you look at the different branches in which the activity took place in Alexandria (which is either all the techniques of etching and oil painting without drawing scorn sometimes or advertising), one wonders if all this production is not for the the expense of artistic value. The answer is a definite no. Not only can you see a chronologically continuous search of style and technique, but a gradual enrichment of the media, who can always choose the most appropriate. Pen drawings, lonoleografie, some lithography, form most of its production exlibristica, but now prefers the wood engraving of the head (boxwood or pear), who knows the technique to deal with a high safety violent chiaroscuro, clear and effective spiritually.

Participation in various competitions, calls for numerous exhibitions of Ex Libris, the Ex Libris continuous depictions of a large number of magazines and the orders are becoming more pressing, Norway, South Africa, from Spain to the United States, as the success and the request of his works, by a refined and educated public which is that of lovers and collectors of Ex Libris. It is precisely in this narrow and special "guest" which Alexander devotes his best creations, in which a fund's philosophy is not petty, as it may seem at first glance, it materializes in subjects that are very original excuse to give vent to his imagination mysterious, full of "humor" and sometimes disturbing. (from the banner of Ex Libris. Servolini and Bono).