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Jackson made prints after oil paintings rather than imitation of ink-and-wash drawings. Jackson's work was remarkable for its subtle overprinting to incorporate a wider range of colours, for which he developed new, oil-based inks. Also notable in some works is his use of heavy embossing to emphasize
29:(1701–1780) was a British artist, a woodcut printmaker of the eighteenth century. He lived and worked in Paris and Venice. Jackson was prolific, ambitious and innovative within the medium, and produced both chiaroscuro and polychrome prints, as well as wallpaper.
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Details of
Jackson's life are few and far between. He arrived in Paris in 1725, and had interactions with French printmakers Vincent Le Sueur and Jean M. Papillon, and collector
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and highlight areas of his compositions, for which he used a rolling press of his own construction. This use of embossing may have been influenced by
British contemporaries
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Anonymous, 'An
Enquiry into the Origin of Printing in Europe', London, 1752, pp.34 & 41. Jackson's authorship was convincingly demonstrated by J. Kainen
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J. B. Jackson, 'An Essay on the
Invention of Engraving and Printing in Chiaro Oscuro', London, 1754, p.8
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103:"John Baptist Jackson's Woodcuts and the Question of Embossing by Evelyn Wöldicke - Print Quarterly"
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John
Baptist Jackson: 18th-Century Master of the Color Woodcut by Jacob Kainen
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Heroic
Landscape with Women at Brook, Child Fishing, and Herdsmen c. 1744
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66:"John Baptist Jackson (1701-80) - The Rich Man and Lazarus"
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122:"Chiaroscuro woodcuts in the 18th-Century"
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