About the Artist

 

 

A native of Colorado, Mark Thompson received his B.A degree in Commercial Art from Colorado State University. After working briefly as a commercial illustrator in Chicago, he returned to Colorado. He taught art for ten years and completed course work toward an M.A. in drawing and painting at the University of Northern Colorado. He turned to his art full time in 1981, working in the media of egg tempera and etching.  Mark has received numerous awards from exhibitions over the years, including the American Artist's Professional League (NY), the Knickerbocker Artist's (NY), the Salmagundi Club (NY) the Allied Artist's of America (NY), and the Colorado Governor's Invitational.  Mark also teaches a class in egg tempera painting at the Art Students League of Denver.

Mark is a member of both the International Guild of Realism and the Society of Tempera Painters.

Major Exhibitions:
    Artist's of America, 1992-2001
    Colorado Governors Invitational, 1993-present
    The Best of Southwest Art, Museum Exhibition, 1995-1996
    U.S. State Department Collection, U.S. Embassy, Brussels, Belgium
    The New Reality: The Frontier of Realism in the 21st Century
        Wichita Art Museum Wichita, KS 2008
        Springfield Museums Springfield, MA 2008
        R. W. Norton Gallery Shreveport, LA 2008
        Museum of Texas Tech Univ. Lubbock, TX 2009
        Indian Hills Community College Ottumwa, IA 2010

 

 

A few comments from Mark about the etching process...

 

I have long been fascinated by the beauty of line and the work of the Renaissance and pre-Renaissance masters. Etchings are essentially the distillation of balance and rhythm, volume and line in a medium over 400 years old. 

The original drawing for an etching is done on a ground zinc or copper plate. An etching needle is used to scratch through the ground and expose the bare metal. When the drawing is finished, the entire plate is submerged in a bath of acid (I use nitric and water, 1-7) until the exposed metal is bitten deeply enough to hold ink. The longer the plate is submerged, the deeper the bite. The deeper the bite, the darker the line. When biting is complete, the ground is cleaned off, and the plate is rubbed with ink then wiped clean. The only ink that remains is in the bitten lines. The plate is then placed face up on an etching press and covered with damp paper. Paper and plate are then run through the press, forcing the paper down into the lines and picking up the ink. Each print is unique and the excitement is renewed with each new image.  

I hope you will enjoy them.

 

 

 

Please contact us with any questions or comments!

 

All work on this site is copyrighted by Mark Thompson. These images are embedded with traceable copyright information.  Any copying, storing, altering, printing, or distribution of these images in any form will be considered copyright infringement.