Working at the Atelier 17 with William Stanley Hayter at 10 Rue Didot in the 14th arrondisement in Paris, France in 1978-79 ( working with fellow artists Pedro Ruiz, Colombian ; Fred Jones British living in Galesburg, Illinois, Jean Clerte, Frenchman from Paris, Deborah Kaplan, American ; George Ball, American; Ediria Carneiro, Sau Paulo, Brasil; Margaret Keith, American from Alabama ; Hideko Seki female from Japan ; Ofelia Ingram, Bogota, Columbia ; Akemi Noguchi, Japan ; Carol Field, New Jersey, USA ; Snaige Sileika, Canadian/Lithuanian descent, Toronto ; Bruce Dunnet, Canadian,; Peter Bond, Australian, Junko Kobayashi, Japan; Vicki M. Mattice; Jennifer Clark, American, Washington DC ; Poncho Morial, Mexico ; Cristina Piceda, Buenos Aires, Argentina ; Mansor Ibrahim, Malaysia, Selanger ; Miguel Espinoza, Arequipa, Peru ; Mariane Aublet, French, Paris ; Tsugua Yanai, Japan ; Honda, Japan ... ) was amazing and I loved it and am very grateful for this amazing experience working with so many fine artists from around the world " Krishna Reddy, and so many others, Pedro, Dallas, Franca, Marianne, Seki, ...

Here are some great pictures I took, and some taken for me working at the great Atelier 17 in Paris, France in the 14th arrondisement at 10 Rue Didot, and having coffee next door at Madame Paulette's incredible Tabac/ café , restaurant : amazing times, amazing people, loved it soooooo. Cheers, Anthony ( TONY ) Quinn , today Wednesday, February 19th, 2020 - happy new year, happy new decade -

I had this idea to take all these pictures of us that etched with Bill Hayter, Hector, too at Atelier 17 

Here are the names of many of the people that etched with me at the Atelier 17. This is from a book of sketches and art that they each did for me as a present. I love it, I cherish it. Cheers, merci, thanks, grazie, obregado, … sante!

Later I went on the manage the Atelier 63 of Joelle Serve that also etched with Bill Hayter at one point. I managed her Atelier de Gravure at 54, Rue Daguerre, also in the 14th arrondisement at 54 Rue Daguerre. I loved that experience afterward and worked with many French aspiring artists. It was great. Merci Joelle!

I did this for the experience and to not have to pay a monthly fee to etch. It saved me money that helped as I was paid a monthly salary as a male aupair of 1,200 francs!

This drawing and also letter sent to me by fellow American artist Fred Jones I received one year after he left the Atelier 17!

Everyone including me here above loved Madame Paulette - here in her Tabac/ Café!

The drawing Bill Hayter drew in my sketch book showing us how to do our first etching exercise with textures, space, volume, etcetera ...

Christina Piced above laughing at Madame Paulette's!

Above one of my etchings of this same beggar woman from the Metro Trocadero.

The beggar woman I often sketched at the Metro Trocadero that no one stopped so say hello / bonjoir, give her money, . I saw her, I often sketched her.

I love to draw, in my notebooks.

My watercolor I did along with many others that sometimes became etchings.

Notes in one of my many notebooks I carried around Paris/

My etching I entitled : " Freedom of Choice - Choice of Freedom "

Bruce Dunnet's drawing for his etching.

More to come, this is just the beginning, stay tuned for more. Cheers all. Merci a tous. Anthony TONY Quinn le 19 Fevrier ici chez Quinn's Aux Etats-Unis 2020

1978-1979 : Print-Making In William Stanley Hayter's Atelier 17 in Paris, France

These were really some very special as well as formative years for me back in my twenties as I tried many styles and techniques to make prints back then in both the Atelier 17 at 10, Rue Didot back in the artist's quartier of the 14th arrondisement in Paris, France.

Actually, I started before both of these at the Atelier Calvert-Brun learning the traditional techniques of print-making from this old French master himself. I started back at the Atelier Calvert-Brun back in 1978 as I recall. I will check my records and get up to speed here as soon as possible as I am very pleased to have this blog format to talk about this period of my artistic development that is still very much with me and which laid an invaluable foundation. I learned from all three of these places.

At the Atelier Calvert Brun I got my feet wet and started to envision the wonderfully enticing world of one of my then-favorite artists of all time : Rembrandt. I just loved all of his work including all of his etchings. I got turned onto Rembrandt back when I attended prep school at Lawrenceville Prep School ( for young me back then as it was not yet coed ) under the eye of Jack Garver. Jack did watercolors beautifully and in the old world style of artists like Homer and Sargeant : careful renditions of real life from nature outside to sports games like football, etcetera. I often would catch him at his own work in the studio that he taught us in in small classes. I think we developed a nice bond in those two or so years that I took art from him.

I should have done more of that and forgotten about the chemistry as I was never any good at that and I did not feel like I received the instruction that I needed to advance in that. I just did not have the aptitude or the direction or interest in chemistry. Too bad : I lost out because either I did not ask for help or help was never really proffered to me. Either way O was the loser in that as my grade reflected much now to my displeasure. Why is it that unlike Jack Garver in my art class I did not have developed the same bond or accord in chemistry? When is it that teachers and professors don't have to reach out to their students in these small classes? But this is about art and not chemistry : sorry!

At The Atelier 17 I got turned onto the entire modern world of art and print-making and all the people around the world interested in working under the tutelage and eyes of William Stanley Hayter. This was huge for me and something that I value to this day as I met so many budding young artists from around the world. I would love to see some of them today to see what they are up to now. And I did recently last year go on my Father's Day with my two children to Hayter's show at the West Wing Gallery of Art of the Smithsonian Institution that both fired and inspired me once all over again! I loved it and am happy to have had that experience to share with my children.

At the Atelier Joelle Serve 54 ( I believe was the number? ) I was asked to come aboard and teach the " eleves " there and to give them the attention and direction that they needed to do their own print-making. I enjoyed the experience greatly and it gave me a lot of confidence. Joelle had been a student once under Hayter and so she and I met somehow because of this. I do not remember exactly at this point. Anyway, she had trust and believed in me and offered me the job and for doing my work I could print there for free and that saved me a whole lot of money as etching and print-making were quite expensive.

So, I have much more to say about all of this but this is at least a humble start to it all.. Cheers, TONY