Hambis Municipal Printamking Museum, Nicosia – 21.1-18.4.2026

The Evolution of Printmaking  in Europe from the 16th Century to the Present Day through Works from the Hambis Printmaking Museum Collection

The exhibition includes only the first two printmaking techniques, Woodcut and Etching.

On the occasion of the Cyprus Presidency of the Council of Europe, the Hambis Municipal Printmaking Museum in Nicosia, presents an important exhibition of prints from its collection. The exhibition offers an overview of the two basic techniques of printmaking, woodcut and etching  in Europe. The works have been selected based on the variety of periods in which they were created – from the 16th century to the present day – as well as the variety of themes. Emphasis is placed on presenting the different methods of the two techniques.

The aim of the exhibition is to highlight the creativity and inventiveness of printmakers in relation to painting. With the aim of highlighting the primary and essential role of Printmaking in the dissemination of images across all social spectrum, the exhibition presents both independent works and book illustrations, aimed at a wide audience. It also offers an overview of European artistic movements, with works by the great names in painting and printmaking. The exhibition, presents the many exchanges in the art world between European countries.

A brief history of the two techniques

Printmaking appeared in the West World in the early 15th century and contributed significantly to the dissemination of texts and images. Woodcut, the original form of printmaking, was based on engraved wooden blocks that could be easily printed along with the typographic elements. In this technique, only the raised, unengraved parts of the wood retain the ink and are imprinted on the paper, a process called Relief. The ability to reproduce works gave artists the opportunity to disseminate their designs to a wider audience.

From the 15th century onwards, woodcut began to compete with etchings. Engraving on metal plates, mainly copper, allowed for greater precision and detail, as metal is more durable and uniform than wood. In copperplate printmaking, ink is retained in the engraved lines, while the smooth areas are cleaned, a process called intaglio.

Although printmaking made great strides, it never gained the prestige of painting, as it struggles to fully render the nuances of light and color. However, many important artists were also printmakers, creating original works of high artistic value that brought art closer to the general public.

Λεζαντες / captions

Johann GRÜNINGER – Βεργιλίου Αινειάδα Η άλωση της Τροίας (5091 III)

Frans MASEREEL La ville N° 13-42-72-100 (4918-21)

ΧΑΜΠΗΣ Η φραγκοεκκλησιά (4632)

Auguste RODIN & Auguste LEPÈRE Buste de Balzac (5254)

Francisco José de GOYA y LUCIENTES Nadie nos ha visto(3943)  

Marc CHAGALL L’âne chargé d’éponges et l’âne chargé de sel (3480)

Curator – Texts: Helen Reeb

Collection: Hambis Printmaking Museum

OPENING HOURS

WEDNESDAY – SATURDAY

10:00 – 13:00 / 15:00 – 17:00