For a very long time, like the orbits of two planets, Robert’s and my itineraries have crossed, moved apart, come closer together and, with each meeting, have rekindled our desire to work together. Without success… Yet Robert Schad’s work and his spirit fit perfectly into the editorial line of Éditions Bucciali and a certain geographical proximity could have favoured an earlier collaboration.
This shared desire finally came to fruition during the summer of 2021 with the exhibition ROBERT SCHAD DIX PAR DIX, a journey of sculptures in Bourgogne-Franche-Comté organised by Jean Greset, which will establish a two-year dialogue between Robert’s sculptures and prestigious, often historic, sites, and the art book published on this occasion. The first idea was to make two prints to be inserted in the offprints of this catalogue. We extended his residency, where he made six full-page aquatints in Jesus format. Robert Schad thus joins the almost one hundred artists who are welcomed and published by our intaglio workshop in Colmar. For thirty years, I have been perfecting our know-how and our techniques to facilitate the work of artists, that of colour and to anticipate the mirror-like execution inherent in engraving so that the artist, most often a painter, is at ease and can preserve the quality and dynamics of his gesture. Our team accompanies and advises him throughout the development of his work – etching, aquatint, drypoint, monotypes – and we do not hesitate to develop or even invent original solutions in emulation of our guests’ creativity. Because engraving also creates links. Engraving is not an isolated and expeditious act, it is a collective, thoughtful gesture, driven by the artist. As the first partner, we are also the first eyes on his work, a demanding and often admiring look. Once the proofs have been printed, the gallery next to the studio invites the public, amateurs and collectors alike, to discover the prints and, for the past few months, its virtual twin has been displaying our extensive catalogue online. During Robert’s residency, I was curious to see how the sculptor, almost a layman in printmaking, would make the transition from three dimensions to drawing. I was impressed by the virtuosity with which he made our tools his own. In these eight pieces, I find the choreographic sharpness in ascending tension of his sculptures, sublimated by the purity of black and white.

Rémy Bucciali
Copper cutter