Posting Again

Have not posted on this blog in a number of years and thought of the many visitors seeking information concerning the craft of marquetry. Retirement has kept me busy with my many endeavors, but marquetry remains my favorite pastime. Currently, I am restoring lost images on this blog that, for one reason or another, were lost. Comments were disabled years ago because some people were disrespectful by abusing the service to promote their views. Some of these individuals are no longer around.

During the past few years I have seen a few changes in the craft. One is that it has become more of a mechanical craft and less of a handcraft. Scrollsawers abound with no knowledge of a fretsaw or knife.  Today, learning marquetry in a class or workshop can cost large sums of money and very few will create enough art to recoup their investment. When I was President of the local marquetry group, I taught the craft with hand held tools which I furnished to students for the cost of veneer and a cup of coffee. I always thought that marquetry should be portable and utilized anywhere, anytime. I have been known to execute marquetry while camping in the Boundary Waters Canoe Area Wilderness with none other than knife, veneer and cutting board. Gone are the days of simplicity.

One thing that has not changed is the perception that you can earn a living at marquetry. I know of no one who does that in this day and age without relying on other forms of woodworking. That's not to say you can't make money at the craft. It's possible as a supplemental income. The determining factors usually come down to how it's made and pricing with specialization a plus. Gallery's are a dubious source for selling by consignment. Art fairs is one option. I know of one craftsman who made a nice income at a renaissance festival, but that's only 2 months of selling with 10 months of crafting.

After 30+ years in marquetry, I only do commissions and those pieces that spark my creativity. Sometimes I see something that looks challenging. My effort displayed in the photo above. This is Leonardo da Vinci's The Last Supper measuring 15"by 30" using various veneers of domestic origin. Marquetry should be enjoyable and rewarding.

Intarsia

No other word in the marquetry lexicon causes more confusion than that of "intarsia" and in some parts of the world it is a misnomer. Although the two share common characteristics they are dissimilar. The root of the problem is attribution. Intarsia created during the Renaissance is not the same as that made today in so far as surface treatment is concerned. Today, intarsia has a sculptured surface where quattrocento intarsia is flat. And marquetry is synonymous in this respect. In fact, to further blur its meaning marquetry is still called intarsia from Italy and Poland to Denmark because there is no distinction between marquetry and inlay work (intarsia) while in France, for example, marqueterie describes both techniques.

To understand older intarsia is to know that from a technical point it is inlayed into a solid substrate while marquetry is layed upon the surface. It was not until the 17th-Century that true marquetry came into being with the advent of sawn veneers. The photo below illustrates how this was done in a self portrait by Antonio Barili in 1502. A shoulder-knife is used alongside a chisel. The original in Vienna was destroyed during World War II.

The intarsiatori was often a woodcarver who expanded his repertoire by doing intarsia as both required the same tools and skills. An added benefit was those who were learned in the architectural arts to take advantage of executing work in perspective.

In the modern era intarsia is made using solid wood whereas marquetry uses veneer. In most instances the intarsia is not inlayed anymore. It is merely glued to a wood backing as an appliqué after it has been sculptured thus creating a 3D effect.

Below is an example in my collection of objet d'arts which originated in Eastern Europe. It is an intarsia representation of a Greek icon entitled 'Mater de Perpetuo Succursu' or 'Our Lady of Perpetual Help' now residing in a church in Rome and has since the Renaissance.

In this case, the main figure is inlayed while the angels and name plate are glued to the surface. The Madonna and Child vary in thickness from 1/4" - 1/2". Overall it measures 15" × 21" inches - nearly identical to the original. The name plate says 'Ave Maria'. 

It is a curious matter that most people do not know the difference between intarsia and marquetry let alone what the two words mean. Once a year, where I live, there is a juried competition of crafts which draws thousands of spectators. They are exposed to this ignorance by grouping marquetry and intarsia into the same class. After hearing of this injustice, I approached the judges with the intent of educating them. As a result there are now 2 distinct classes. I do not believe this was an isolated case. I can only hope others will take a proactive lead wherever possible.