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'''Jörge de Sousa Noronha''', né à [[Lisbonne]] en [[1936]], est un artiste [[Artiste-peintre|peintre]] et [[lithographe]] portugais. 

(contracted; show full)En préparation:

* ''A casa do mundo, textos poéticos''.
* ''Arqueologia da imagem'',essai.
* ''O museu imaginario das igrejas e catedrais do mundo'' (cadernos de arquitectura).



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'''About the meaning of printig images today
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A Parisian Printmaker's Personal Observations
Jörge de Sousa Noronha Looks Forward and Back



I learned many things in lithography from a certain M.C. Escher, an artist and a consummate master printmaker who died miserably in 1972. Today he is virtually forgotten. He was the creator of strange mirages and impossible hand-made perpectives which were, nevertheless, mathematically precise. It was a careful observation of his very special crayon technique in lithography--using the proper grain of the stone to reach a large variety of halftones—which gave me a key for my own technique. Today, looking for Adobe Photoshop in my computer, I think again of Escher, and how he would be delighted to manage all those images with such a large panel of technical possibilities.


In 1985 I met June Wayne in Paris at the occasion of her exhibition “My Palomar Series” at La galerie des femmes . My encounter with June was determinant in the ordering of my own ideas about lithography and the development of my printmaking studio, as well. Since those days, Tamarind ethics and techniques have become the example to follow, not only for me, but for so many printmakers around the world. June--certainly moved by holy inspiration--rediscovered the technical tricks of old masterprinters, and she took them from Paris to Los Angeles. Meanwhile, on this side of the Atlantic things have become more and more incertain, difficult and lost, and the worst is now certainly to come. Maybe one day in the future, however, younger generations will rediscover again the lost techniques of the past and the contributions of Tamarind Institute others will again be in the limelight.

In fact, the galaxy of imagery is now crossing through other spaces. For many years people here in Paris have felt pride in telling me that the Parisian printmaking studios were among the best. Now, a large part of the most prestigious ones have closed for good. Because images are different, real art and creation are mostly taking place in other prominent areas such as photography, design or architecture. For a large majority of young people, printmaking means absolutly nothing. Another issue which makes young people indifferent to printmaking is the print's “predictable” quality. I think young people potentially interested in printed images would look for more “unexpected” subjects capable to generate immediate astonishment. The names of artist printmakers working today, with the exception of a few famous ones, are completely unknown to this new public of young people who have a very new and different sensibility to the image.

BIGGER, BOLDER, BRIGHTER? Too late! In 2002, Philippe Dagen, published “l'Art impossible.” He asks: “Why is art quite impossible today ? Because the society has no more time to deliver to artists...” The market has migrated to other attractions and interests. The loss of attractiveness makes artists and printmakers more and more isolated. The artists who are still painting or engraving remind me of “Dr. Strangeloves,” totally disconected from a cruel reality. It's difficult to say with any certainty. Maybe they do artwork just for their own pleasure.

Today's imagery doesn't need any support. Computerised images have their own light and are generally delivered in full colour. Curiously, if you like, you can also see them in black and white... you only need to click the button. Images are “transparent” and you can go inside and look at them from the back. You can lower the brightness, cut on the shadows, move the colours, and put the tree on the roof for less than a dollar. For anyone born in the era of computers, printed images are simply information, without any suggestion that they represent some thing more, without any connection to actuality or events. Unfortunately or not, the appreciation of the magic of printing a creative image on paper from a matrix especially created by an artist is becoming an exercise reserved to the rare “adults” initiated into those arcane arts.

And now what ? The truth is that between the paper and the “screen” we must choose our camp. I know, I'm telling you a story that many people would prefer not to hear. On the other hand, the old or even the more-recent creative images on paper may not be totally dead. Maybe they are just asleep. New matrixes are appearing now to invite printmakers to make prints—perhaps in an entirely different manner--on new and unexpected supports.

Jörge de Sousa Noronha
Paris, VII / 2008⏎
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==Lien externe==
*[http://www.jorgedesousanoronha.com Site personnel]

{{Portail|Peinture|Portugal}}

{{DEFAULTSORT:Sousa Noronha}}

[[Catégorie:Artiste portugais]]
[[Catégorie:Graveur portugais]]
[[Catégorie:Naissance en 1936]]
[[Catégorie:Naissance à Lisbonne]]