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1-800-99-BAUMAN

Hidden

Paul SEAWRIGHT | Mark DURDEN

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Item#: 61549 price:$450.00

“THE CONTINUED VIOLENT DESTRUCTION OF CONFLICT”: SEAWRIGHT’S HIDDEN

SEAWRIGHT, Paul. Hidden. With Essays by Mark Durden and John Stathatos. (London): Imperial War Museum, (2003). Oblong folio, original brown cloth, original photographic dust jacket. $450.

First edition of this timely photobook on the war in Afghanistan, with 29 color plates.

“In June 2003, the Irish photographer Paul Seawright was commissioned by the Imperial War Museum in London to make an artistic response to the war in Afghanistan… Seawright visited remote areas of the country, sometimes under dangerous conditions… [He] applies a distanced, cool, New Objectivity style to an emotional issue, conjuring up a landscape of malevolence… Seawright photographs the desert landscape of Afghanistan… in an intensely contained, luminous manner, draining out overtly romantic colour but emphasizing the desert’s beauty (Parr & Badger I:285).

A fine copy.

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Aquatint Copperplate process by which the plate is “bitten” by exposure to acid. By changing the areas of the plate that are exposed and the length of time the plate is submerged in the acid bath, the engraver can obtain fine and varying shades of gray that closely resemble watercolor washes. Although the name contains the word “tint”, this is a black-and-white printing process; aquatint plates can often be hand colored, however.
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Lithograph Illustration produced by transferring an image drawn on a carefully prepared stone to paper. The process allowed illustrations to more closely resemble the original drawings, paintings or sketches, as it gave the lithographer a freedom of line impossible to achieve in earlier intaglio and relief processes. It does not require the same sort of pressure as an engraving to transfer the image, but still has to be printed on separate stock from the text
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Wood-Engraving Engraving made with the graver or burin on the cross-section of a piece of boxwood; the harder wood and finer tools allow for more delicate, finely detailed images, while the block can still be set in the page alongside text and printed on the same stock as the text. While much older, wood engravings enjoyed an important renaissance in the late eighteenth century through Thomas Bewick and continued in popularity thorugh the nineteenth century.
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