As if the world of art and its language of flowery terminology are not intimidating enough to the average person, further confusion is created with the multitude of different printing processes: etchings versus engravings, stone lithographs versus off-set lithographs, serigraphs versus monotypes, and finally the latest of the bunch… the giclée (pronounced zee-clay).
Currently, the most common form of giclée is the result of digital technology. To briefly summarize the process, the original art piece is photographed with high resolution, a digital file of the image is created and color proofed against the original along with input from the artist, and the giclée is printed using a giclée printer, which sprays tiny ink droplets onto the passed-through canvas or paper.
The benefits are a higher resolution of the image and consistent quality from the first print to the last.
In addition, the artist or publisher need not commit to a large run of prints, but rather can “print on demand” once the digital file is created. This sub-feature is what allowed the giclée to permeate the market quickly as publishers and artists alike were able to enter the world of art publishing without a major financial investment or the need to be able to warehouse hundreds of prints.
It provided artists with the ability to self-publish and manage distribution of their art without the need for financial backing from large publishers. In theory, this allowed for more art to reach the eyes of the public as more opportunities were available for artists to purvey their portfolios, albeit in non-original form.
However, moderation and restraint are the keys to preventing the abuse and exploitation of a good idea. The modern-day giclée allows the hobby artist to create a piece of work one day, and, the very next, produce an edition of 500 or more prints. With the multitude of artists now creating their own editions and selling them at the plethora of art festivals, the public is often unable to ascertain whether the price of an artist's giclée is supported by his or her career, price history, or general market demand.
Prior to this revolution, it was generally safe to say that an artist, who received the support and financial backing of a publisher, had proven him or herself. As a result, collectors had a perceived validation of the artist’s stature within the art market.
However, the fine art of publishing also has been negatively influenced by the advent of the giclée. In general, the publishing industry has evolved into finding “safe” mass appealing art, portrayed by several different artists. Once that current trend changes, the artists may be replaced by those representing the new trend.
Thankfully, these market trends have led to resurgence in original art being sought by collectors who prefer to abstain from the print market. Ideally, this is the best way to experience the artist’s expression as it was originally intended.
Christopher Hill can be reached at 707-963-0272, or info@chgallery.com.
