Lithography in the Nineteenth Century

Thanks to ease of production and economical distribution, it did not take long for lithography to find a broad range of applications in art and commerce.
A slider containing 12 items.
Press the down key to skip to the last item.
Boxers, Théodore Géricault  French, Lithograph
Théodore Géricault
1818
Sieben Gegenden aus Salzburg und Berchtesgaden Geordnet nach den sieben Tagen der Woche, verbunden durch zwey allegorische Blätter (Seven Places in Salzburg and Berchtesgaden, Arranged According to the Seven Days of the Week), (Johann Heinrich) Ferdinand Olivier  German, Lithographs printed in gray and again with a light beige tone stone mounted on painted and gilt board with attached titles printed on brown paper. Printed portfolio with green ribbons.
Artist and publisher (Johann Heinrich) Ferdinand Olivier
1823
Pilgrim at the Gate (Einsiedler an der Pforte), Karl Blechen  German, Lithograph
Karl Blechen
1827
Nocturne (Nocturne: The Thames at Battersea), James McNeill Whistler  American, Lithotint with scraping on a prepared half-tint ground, printed in soft gray-black ink on pale blue laid chine mounted on ivory wove plate paper; second state of two (Chicago)
James McNeill Whistler
1878
Faust, Eugène Delacroix  French, Lithograph; second state
Multiple artists/makers
1828
Central Park, Winter – The Skating Pond, Charles Parsons  American, Hand-colored lithograph
Multiple artists/makers
1862
The Witnesses - The War Council, Honoré Daumier  French, Lithograph on tan wove paper
Honoré Daumier
1872
The Races, Edouard Manet  French, Lithograph on chine collé; third state of three
Edouard Manet
1865–72, published 1884
Moulin Rouge: La Goulue, Henri de Toulouse-Lautrec  French, Lithograph printed in four colors; three sheets of wove paper
Henri de Toulouse-Lautrec
Printer Affiches Américaines, Charles Lévy
1891
Mademoiselle Bécat at the Café des Ambassadeurs, Paris, Edgar Degas  French, Lithograph; only state
Edgar Degas
Sitter Portrait of Emélie Bécat
1877–78
Day (Le Jour), from the series, Dreams (Songes), plate VI, Odilon Redon  French, Lithograph on chine collé; only state
Odilon Redon
1891
Parallèlement, Pierre Bonnard  French, 109 lithographs printed in rose ink; 9 wood engravings
Multiple artists/makers
1900

Lithography was invented around 1796 in Germany by an otherwise unknown Bavarian playwright, Alois Senefelder, who accidentally discovered that he could duplicate his scripts by writing them in greasy crayon on slabs of limestone and then printing them with rolled-on ink. Because the local limestone retained so relentlessly any crayon marks applied to its surface, even after repeated inking and printing, lithographs (so called from the Latin for stone, litho, and mark, graph) could be printed in almost unlimited quantities.

Thanks to ease of production and economical distribution, it did not take long for lithography to find a broad range of applications in art and commerce. As a means of multiplying drawings, it was embraced by portraitists and illustrators, especially those associated with the popular press (); (), and it proved an effective means of graphic invention for many of the period’s greatest artists ().

Early in the century, Romantic painters such as Théodore Géricault () and Eugène Delacroix () came to appreciate the shifts of tone that could be achieved with lithography: stirring, dramatic effects like those produced with charcoal or black chalk. Some of the Impressionists used the medium to capture fugitive effects of weather or light. James McNeill Whistler, an American who made his career in Europe, used the medium to capture the subtle grays of a seascape veiled in fog (), and Edgar Degas () explored the varied forms of natural and artificial lighting at night. Near the end of the nineteenth century, similarly artful manipulations of black and white characterized the work of Symbolists searching for the means to evoke the world of dreams and the unconscious ().

When improvements in printing technology made it possible to add color to lithography and increase the size of the printing base, commercial possibilities ballooned. Advertising was revolutionized in the 1880s and 1890s by the production of bright mural posters () and art collectors began to enjoy a greater range of offerings in color prints and illustrated books ().


Contributors

Colta Ives
Department of Drawings and Prints, The Metropolitan Museum of Art

October 2004


Citation

View Citations

Ives, Colta. “Lithography in the Nineteenth Century.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/lith/hd_lith.htm (October 2004)