RCAB 2

B y definition, within the arts context the workshop foreman is a professional charged with supervising the majority of practical aspects relating to art in an institution. This means they apply a teaching method or even tutor learning processes, providing means and support to those who require it, enabling them to progress in a particular project or direction. It requires a great capacity for organisation and coordination, as well as an extraordinary level of patience and sensitivity. An unusual dis- position, given the fast rate of modern life. Given the close daily contact with the member or the students, their criteria and actions are key to preventing those problems associated with close quarters or a lack of understanding about what team or individual - but never alone! - work involves, as needed. Many artists tend towards isolation, which often expla- ins the frequent lack of integration into the heart of small co- llectives that, despite their affinities, have difficulties regarding connections and tolerance amongst their members. Defined by the workshop, the name 'workshop foreman' is an educational and work denomination that, although it has often been underestimated by the liberal arts, has become more dig- nified and professional over the years. Fernando de Manzarbeitia Urquiza (Madrid, 1948) has been Master Printer at the Madrid Fine Arts Circle for twenty years. Within the vast world of Fine Art, the printing and engraving technique and its rudiments are something that Fernando de Manzarbeitia is an international reference in. The countless exhibitions that he has presented in both as ar- tist and commissioner have consecrated him not only as a suc- cessful creater, but have also drawn to him a great number of artists wishing to learn more about this technique used by the great masters of painting from the 17th century onwards. As such, de Manzarbeitia has become the Master of the presti- gious engraving courses offered by the Madrid Fine Arts Circle, courses with in previous years have been taught by masters such as Eduardo Chillida, Pepe Hernández, Alfredo Piquer or Rafael Canogar. The printing studio occupes the top floor of the building housing the MFAC at no. 42 Alcalá Street in Madrid, just next to the cen- tral Cibeles Square. It is home to two Azañón printing presses with platens measu- ring 80x120cm and 60x120cm respectively. The workshop also has a lithographic press with a total of 16 pieces of stone. This is complemented by a resinating machine with a heating plate, shears, two water fonts, a work area and a inking station. All kinds of counterfoils can be found there, as can acetates, lino- leums, zinc, copper, wood, cardboard, using both techniques of printing and priming both gravure and relief. The mordants used are salts, with acids being discarded for their toxicity. Silk- screen, photopolymer and photoengraving are all out due to lack of space. Each person works on their counterfoils indivi- dually, which does not preclude forming groups to experiment and using additive and collagraphic techniques. The work rules include using gloves and masks for resining, and a high level of cleanliness in work and respect in the workspace is maintained. Printing is a technique accessible to anyone with an artistic bent. Both professional and amateur painters can have access to the workshop and to any of the courses offered. Anyone who wishes to approach the world of drawing for the first time, the technique of printing, its study or analysis or the most often- used techniques of the greats have their own space within the workshop and its courses. The workshop and courses are open to young people, not only those already enrolled at universiry, but also as activities for schoolchildren within the teaching pro- gramme of secondary education institutions. Moreover, the most recent scientific studies prove the benefits of artistic activity for the brain. Similarly, this activity is uniquely helpful in benefitting the mood of people with both long-term and degenerative illnesses, as well as those with brain condi- tions. Artistic stimulation considerably improves the condition of those who are in a process of recovery while at the same time improving the attention span and calming the behaviour of tho- se with mental issues. The courses consist of a theoretical part where the specific te- chnique is analysed together with all the tools the artists has at their disposal to complete their work. In addition, there is an analysis of the work of other artists in order to come into con- tact with the media used to finish their pieces. Later, they have the opportunity to complete the practical part of the study, whe- re, as well as putting into practice all the mechanisms studied in the theoretical part, they can also experiment with their own ideas under the careful eye of a great expert. Amongst other possibilities offer ed, there is the option of win- ning various scholarships to wor k in the Betanzos Contem po- rary Printing Research Centre (www.fundacionciec.com) for two months. Amongst other winners we can count relevant artists suc h as Shirin Salehi, First Prize at the Bilbao International Printing Fair, and Óscar Valero, National Printing Prize at the Marbella Contemporary Spanish Print Museum, in a long list of already revered artists. █ 16 The Art Workshop Foreman Fernando de Manzarbeitia Urquiza