Aldo Crommelynck was a Belgian/French intaglio printmaker who spanned the worlds of modern and contemporary art. He was an apprentice to Parisian printmaker Roger Lacourière where he worked with Henri Matisse, Joan Miró, Le Corbusier, Jean Arp, and Georges Braque. After establishing his own studio, called Atelier Crommelynck in Montparnasse he continued to work with major European artists, by this time including Alberto Giacomettti, Kees Van Dongen, and, in 1963, Pablo Picasso. His association with Picasso was so successful that after 1963 he was the only printmaker Picasso used. The cover piece for this blog was published by Atelier Crommelynck and can be seen here: https://www.fairheadfineart.com/store/product/after-pablo-picasso-nature-morte-au-citron-et-au-piche...
Crommelynck specialized in intaglio, as opposed to relief, processes. In its case these included etchings (in which acid is used to eat into a copper plate where a figure has been made by a fine line in a protective covering of wax), aquatints (where an acid resistant resin is used to give the surface of a metal plate a soft atmospheric grain), and drypoints (where a figure is incised directly into a copper plate). Aldo's renowned ability to breathe life into a printed image was widely respected: Adam D. Weinberg of the Whitney Museum of American Art said he was “an alchemist as much as a master technician.”
After 1986 Aldo moved to New York to begin another long association, this time with Dick Solomon of the Pace Gallery in Manhattan. There he worked with American artists as prominent as his European clientele but they were of a new generation: Jasper Johns, Ed Ruscha, Chuck Close, Alex Katz, Keith Haring, and Jim Dine. His association with Dine was so close that the one-man show of prints Dine had at the Bibliothèque Nationale de France was called “Aldo et Moi.”
Crommelynck remained in New York until his retirement in 1997. He died in Paris in 2009.