7:30 pm — 10:30 pm

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 United Arts Club Vice-President, Marie-Louise Martin,  

“Drawn to print”, Solo Exhibition    

 Opens Thursday 17th September

Continues Saturday 3rd October





In conjunction with CULTURE NIGHT 2020


Friday 18th September 2020


One of our Vice-President’s, Marie-Louise Martin is a fine art printmaker based in Ireland. Marie-Louise produces original print using intaglio techniques and is among a small number of Irish contemporary artists who use traditional etching and engraving to make limited edition print. Join our virtual tour of Marie-Louise’s Exhibition where you will see a digital catalogue of her work and have the opportunity to view her exhibtion exactly as if you were there!






COVER: “Homage to Piero Della Francesca”




Words from the artist:


 “In such strange times and as there won’t be an official opening reception I thought I’d put a few words together about this show, “Drawn to print”.

First of all, let me fill you in a little about the background to all of this.

I loved drawing from an early age and while in school I attended art classes every Saturday afternoon with George Collie and Dick Free in a very rickety studio on Schoolhouse Lane. In 1978 I got into NCAD and after a year in Pre-Diploma I progressed to Fine Art. At the time my heart was set on being a painter, but the seeds had been sewn in that first year for a department I had absolutely no experience in: The Print Department. The only prints I had made up until then were with potatoes! The moment I walked into the print room in Kildare Street I was hooked. It was an enormous open space housed in the ballroom of the original house. There were several printing presses including a magnificent Columbian press featuring a cast iron eagle. The different processes were like magic to me and I couldn’t wait to learn all about this alchemy. And as luck would have it Jackie Stanley, my tutor, encouraged me to continue working with print. It was a time of enormous change for the college so the print tutors were equally diverse, from the very traditional to the totally experimental.

After college, at John Kelly’s suggestion, I joined the newly founded Black Church Print Studio, working there for over 30 years. Recently I moved to the Graphic Studio, the oldest print studio in Ireland. I also have a studio at home.

Printmaking covers an enormous area, even focusing on one technique the possibilities are endless. I am now printing over 40 years, constantly experimenting with a wide range of materials and techniques and as a naturally curious person, I don’t feel I will ever stop learning. In this show I have included large scale drawings that I made in Ireland and Italy. Some of the prints are from my latest series, “Outside in”. In these I have taken some of my favourite artistic heroes, as in “Mr Morris’s wonderful wallpaper” I filled his silhouette with his famous “Strawberry thief” pattern as well as embossing the paper with his design, “Acanthus”.

In “Homage to Piero Della Francesca”, I have taken his portraits of the Duke and Duchess of Urbino and put the background landscapes within their profiles. I hope you will enjoy this new work and if you would like to find out more about the work or the techniques please visit my website www.marie-louisemartin.com

Calendars of my work for 2021 will also be on sale at €10 each.”

Marie-Louise Martin, 2020








  1. Mr. Turners Grand Design (SOLD)


39 x 24 cm

€200 / €300






2. Homage to Klimt

Etching, embossing and

Metallic pigment

36 x 29 cm

€375 / €475



3. Mr. Morris’s Wonderful Wallpaper

Etching and Embossing

40 x 30 cm

€375 / €475






4. Homage to Piero della Francesca

Etching and embossing

48 x 37 cm

€600 / €700




5. Lily’s New Hat (SOLD)

Etching and Embossing

53 x 37 cm

€350 / €450







6. Charlotte (SOLD)

Etching, embossing and metallic pigment

47 x 34 cm

€375 / €475







7. Veil


37 x 28 com

€275 / €375






8. Venetia

Etching, embossing and metallic pigment

54 x 37 cm

€350 / €450







9. The Tin Barn


32 x 32 cm

€225 / €275





10. Willows in winter – Querceto


49 x 53 cm

€600 / €700






11. Summer Storm – Monteriggioni


49 x 53 cm

€600 / €700








12. Memento

Etching, chine colle, mixed media (Unique)

25 x 14 cm






13. Cavan wreck

Graphite drawing (Unique)

74 x 55 cm










Making Contemporary Fine Art Print

There is a great distinction to be drawn between original print and print reproduction.

In short, an original print has been made by the artist as the sole expression of the work; that is, a limited edition of the completed art work. A print reproduction is a completely different kettle of fish; the original image might be in any medium; from photographs to oil paintings and all points in-between. Confusingly, these reproductions might also be offered in a limited edition – do not forget, though, they are reproductions of an existing art work from a different medium; and remember also, reproductions are what posters are.

Giclée is not original print; it is a reproduction as described above.

Printmaking as fine art comes in different types and styles; what these are and how they are used often depends on the final work the artist envisages. The essence of the printing techniques is the same for all Marie-Louise’s prints*. It is this; a mirror-image is applied to a plate; that plate is inked; and then it, and the paper it is to be printed onto, are put through a press. The result is the image presented the right way round.

The different intaglio techniques Marie-Louise uses in her printmaking are centred on the plate and the process of preparing the plate to accept the ink. In lay terms, the plate medium is either engraved or etched; in both cases though, the desired result is an indented line or surface roughness that will capture ink. The ink is first applied in excess, and then wiped off the plate; some of the ink is left in the grooves; this remaining ink will be transferred by the press to the paper.

The plates Marie-Louise uses are either sheets of acetate to be engraved using drypoint, or sheets of mild steel to be etched in a bath of nitric acid. There are other techniques for etching that do not rely on acid interaction with metal. They are sometimes regarded as safer and, their proponents suggest, that they produce a similar quality line – to date, Marie-Louise’s experiments with these techniques have yet to yield a satisfying print, but that avenue has not been dismissed.

*Marie-Louise doesn’t presently use any other techniques, but for completeness here are those used most by other artists.

 Wood-block and lino-cut printing are contact printing, and so, different from the above description – the grooves and cuts are not intended to accept ink, rather the mirror-image positive is the proud surface that is given a smooth coating of ink – it is pressed onto paper to make the image.

Mezzotint uses an already stippled surface that, if inked and put through a press, would yield a single toned block of black. For an image to be developed, parts of the plate are burnished smooth so that they do not to accept ink – these plates are then mirror-image negatives (compare the etching, engraving, and contact that are mirror-image positives). When printed the image is made of the whited-out parts of the print.

Screen printing involves the negative part of the image resisting the ink being delivered through the fine mesh – usually of silk or other fabric of the screen onto the final medium, often cloth or paper.


If you would like to view Marie-Louise’s exhibition in person, please do not hesitate in contacting the Club’s office 01 6611411 or office@dublinarts.com to arrange a viewing.


17th September 2020 @ 7:30 pm
3rd October 2020 @ 10:30 pm
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