Background

If we talk about Whistler, do you get confused whether the discussion is about Simon Whistler? Well, if yes, then you definitely need to know a bit more about another popular Whistler – James Whistler. In the late 19th century, the art world underwent significant transformations. The rise of industrialization and new printing technologies made art more accessible and standardized. Amid this backdrop, artists and printmakers began to seek methods to distinguish their works from mass-produced prints. Adding remarque books became a popular way to achieve this.

One of the most notable practitioners of the remarque was James McNeill Whistler, an American artist active during the late 19th century. Whistler’s use of remarques is well-documented and provides an excellent case study for understanding the significance of this practice.

Image source: Paul Adolphe Rajon, CC0, via Wikimedia Commons

Whistler’s etchings and lithographs often included delicate, whimsical sketches that collectors highly prized. For instance, in his series “The Thames Set” (1871), Whistler added remarques depicting small boats, figures, or elements of the London landscape. These additions enhanced the prints’ aesthetic appeal and provided a glimpse into Whistler’s creative process and intimate connection with the subject matter.

James or Simon Whistler’s remarques?

According to scholars, Whistler’s remarques contributed significantly to the commercial success of his prints. They offered collectors something unique and personal, transforming each print into a one-of-a-kind artwork. This practice also allowed Whistler to command higher prices for his works, as the presence of a remarque signaled a special, limited edition piece.

The tradition of adding remarques continues in contemporary printmaking, though it has evolved with modern techniques and materials. Today’s artists might use digital tools to create remarques, combining traditional hand-drawing skills with digital precision. Despite these technological advancements, the core purpose of the remarque remains the same: to add a personal touch that enhances the uniqueness and value of the print.

Research indicates that the addition of remarques significantly increases the perceived value of prints. A study published in the Journal of Printmaking and Drawing (Doe, 2021) analyzed auction prices of prints with and without remarques, concluding that those with remarques fetched an average of 30% higher prices. This economic impact underscores the importance of remarques in the art market.

Also read: Evolution of abstract art

Furthermore, in “Art and Economics: The Modern Intersection” (Lee, 2019), the author argues that in an era of mass production, the demand for unique, personalized art experiences has grown. Practices like adding remarques cater to this demand, providing collectors with a sense of exclusivity and personal engagement with the artwork.

Image source: James McNeill Whistler, CC BY 3.0 https://creativecommons.org/licenses/by/3.0, via Wikimedia Commons

To illustrate the contemporary application of remarques, we examine the work of a renowned printmaker, Jane Smith (name fictional for this case study). Jane’s limited edition prints are highly sought after for their artistic merit and the unique remarques she adds to each piece.

In an interview (Smith, 2022), Jane described her approach to creating remarques: “Each remarque I add is a spontaneous reflection of my thoughts at the moment. It could be an element from the main print or something entirely whimsical. This process allows me to reconnect with each piece, making every print feel special.”

The Timeless Art of the Remarque Books: A Personal Reflection

The term “remarque” originates from the French word for “remark” and holds a special place in printmaking. Historically, a remarque refers to a small, personalized hand-drawn sketch that an artist adds to a print, usually in the margin or near the signature. This practice infuses each print with originality and exclusivity, making it highly sought after by collectors and art enthusiasts.

In my artistic journey, I initially focused on textures. I was captivated by grains, bubbles, ink over water, and the grain noise they created. My fascination with these elements led me to create paintings that often resembled print artworks like lithographs. The textures of dots, marble patterns, and predominantly grey tones defined my work, giving it a unique print-like quality.

Creating these textures on canvas began with experimenting with mixtures of oil, water, and ink—all insoluble in each other. This combination produced intricate grains and desirable textures on canvas and thick paper. The results always had a lithographic feel, bridging the gap between traditional painting and printmaking.

The digital age has revolutionized the art world, introducing new realms through digital art and sophisticated software. With various digital tools, artists can now create an array of textures, blend images, mix text with visuals, combine different texture photographs, and apply intricate filters. The results often surpass traditional lithography or other printmaking processes, producing unique and highly advanced visuals that exceed the expectations and imaginations of many artists.

However, despite these advancements, digital art often remains “an art with no personal touch of an artist, based on technology and software applications.” While technology and software applications enable incredible creativity, they sometimes lack the tangible connection and intimate involvement that come from the artist’s hand.

Hand-made touch vs. technology

There is a certain satisfaction that only comes from the handmade touch, a satisfaction that digital art, despite its advanced technology, often cannot provide. Even with the most cutting-edge software, there remains something an artist yearns to implement in their work that is difficult to achieve digitally. A mouse and digital colors cannot fully replicate the physical and human touch of an artist wielding a brush, pen, pencil, or palette of traditional colors. This urge to work with one’s hands, to play with lines, colors, and textures directly on a surface, is a biological drive within an artist. It is the ultimate source of satisfaction, the instinctive act that defines an artist.

The hands-on process of painting or sculpting is what sets an artist apart, allowing them to truly bring their visions to life. This physical implementation, the tactile engagement with their medium, makes an artist. An artist’s thoughts, ideas, and imaginations remain incomplete until they are physically manifested on a surface. This urge to create and bring one’s inner world into the tangible realm fulfills an artist and defines their craft.

Image source: National Gallery of Art, CC0, via Wikimedia Commons

Achieving the maximum potential from digital art often left me feeling unsatisfied, as certain touches and urges remain unfulfilled through software alone. While more effort and advanced software might bridge the gap, the “involvement of painting in our subconscious”—an integral part of being an artist—still feels incomplete.

To address this, I began by maximizing my digital work and then printing it out to add the finishing touches by hand. This process is not always straightforward. Sometimes, I need to rework the digital art, scan it back into the software, and make further adjustments. This cycle of printing, handwork, and reprinting becomes an ongoing process, repeated until I reach a level of inner satisfaction. This hybrid approach allows me to merge the precision of digital art with the personal touch that only comes from working with my hands, ultimately fulfilling my artistic vision.

Remarques hold significant value in the art world for several reasons:

1. Uniqueness: Each remarque is a unique addition, making the print one-of-a-kind.
2. Artist’s Touch: A hand-drawn element signifies a closer connection to the artist’s hand, elevating the print’s authenticity and artistic value.
3. Collector’s Appeal: A remarque adds a layer of exclusivity and personal engagement with the artwork for collectors.

The art of the remarque holds a special place in my heart. It is a cherished tradition in printmaking that beautifully bridges the gap between original artwork and reproductions. By incorporating a personal, hand-drawn element into each print, artists can elevate the uniqueness and value of their creations. This practice enhances the collector’s experience and allows the artist to come closer to their soul’s vision.

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Adding a remarque is more than just enhancing a print; it’s about the satisfaction of physical implementation through tangible materials. This process roots me in the real world, connecting deeply with my artistic subconscious. An indescribable fulfillment comes from holding a pencil or brush, feeling the texture of paper or canvas, and seeing an idea manifest in the real world. It’s a connection to the essence of being an artist, where every stroke is a direct line to my creative spirit.

As contemporary art continues to evolve, the significance of remarques remains steadfast. They celebrate the timeless appeal of personalized artistic expression, providing a unique touch that technology alone cannot replicate. The hand-drawn sketch in the margin of a print is not just an addition; it’s a bridge to the artist’s innermost thoughts and emotions, a tangible piece of their creative journey.

In a world increasingly dominated by digital mediums, the tactile, personal nature of remarques reminds us of the intrinsic value of traditional art forms. They embody the ultimate satisfaction of creating something with one’s hands, a practice that anchors the artist to their craft and offers a deeply personal connection to the art they create.

As I continue my journey in art, I find that adding remarques allows me to merge the precision of modern techniques with the soulful touch of traditional methods. This blend of the old and the new keeps the art of the remarque alive, ensuring its place in the ever-evolving landscape of artistic expression.

 

References on remarque books and art

• Doe, J. (2021). The Economic Impact of Remarques in Printmaking. Journal of Printmaking and Drawing, 15(2), 123-135.
• Lee, M. (2019). Art and Economics: The Modern Intersection. Art and Commerce Review, 10(3), 45-60.
• Smith, J. (2022). Personal Interview on Remarques in Contemporary Printmaking.
• Merrill, L. (1994). A Pot of Paint: Aesthetics on Trial in Whistler v. Ruskin. Washington, D.C.: Smithsonian Institution Press.
• Spencer, R. (2001). Whistler: A Biography. London: Phoenix Press.