The technique of mezzotint printing was invented in the 17th century in Holland by the German Von Siegen ( the first known mezzotint is dated 1642)

Mezzotint reverses all other printing techniques in that the artist "draws" on engraving plate from black to white. Shape and light as if emerge from its black surface, producing tonal variations which are not possible to achieve in any other way.

Mezzotint is a method of engraving by systematically "roughing up" the entire surface of a copper plate with a rocker - a crescent ended tool with a serrated edge having a certain number of teeth. "Rocking" with it produces little digs into the plate, each of which throws up a tiny pinnacle of metal. When the plate is entirely "rocked", the ink is held between these pinnacles and an impression then taken through an etching press would give the velvet black, characteristic only of this medium. The desired forms are then defined by scraping and burnishing down these innumerable burrs. The gradations of tone depend on the depth scraped off - the deeper the plate is flattened by tools, the less ink, when it is "wiped" it holds and would consequently print the lightest.

The mezzotint technique has been exploited mostly to reproduce paintings, as it gave the maximum of possibilities in comparison with any other one. But with the advent of photography in the 19th c. the mezzotint plunged into obscurity. Only in the second half of the 20th c. some enthusiastic artists around the world started to revive the mezzotint. But this time not to produce reproductions, but for the sake of creating the original art. Though, being the most complicated and "hard-labour" one among all the intaglio techniques the mezzotint probably will never become as popular as "Mass-Media".

Art historians and critics put on their robes, fairly ragged in fierce discussions, to try to attract his attention by some unexpected ideas, or even nonsense, which sometimes might be preferable. Because the logic of common sense at the best is delusive and at the worst - dull. But then, how to find the words, with which it would be possible to measure all the depth of the feeling of the artist, whose vocation is to reveal the invisible and to make it explicit through the artistic form.

But this if just the first approach to the concealed from uninitiated the essence of things. Imperfection of discursive constructions convinces, that behind expressive effect of the form conceals in itself the inexplicable enigma, the feeling of which covers the unexplored. Such is his privilege - of the one, unique and inimitable in his creation.

If colour painting reminds more of all the diversity of the visible colourful world, then monochrome painting by the light (yes indeed - painting in the engraving technique of mezzotint!) - turns out to be related to the invisible metaphysical world. And this is -"supremum supremorum": spectator got the feeling, that the image reveals itself from the depth, from the very trembling form by means of the secret flowing light.

Practically to master the mezzotint can only few, whose choice of this noble technique seems to be predetermined from above. In other words, not so much the artist chooses the mezzotint, as the technique itself calls the one, awakening the proper gift.

It is obvious, that such an amazing technique demands the special qualities from the artist. One must be restrained, to be able to concentrate inside such a quantity of reproductive energy, which would be enough to extricate metaphysical image from the non-existence. The most important - such the level of meditation must be characteristic of the person, which would allow even in the most ordinary things and objects to see the true psychological character,- to observe not so much by the external, as by the internal eye.

For the mezzotint artist the outer darkness is the Source of the World Creation, out of which, by exertion of the creative spirit, the images of all things appear. Accordingly light for the artist by no means is not the opposition to the darkness, but only derivation of its different degrees of solidity of states.

Taking into account everything said about Konstantin Chmutin it's possible to come to the natural conclusion: this artist was born for mezzotint, also known as "black manner". He, dedicated, the missionary, wondering around the World seeking for the always slipping off ultimate meaning of art and life itself. For there is no end. But there is the great diversity of inexplicable.

"And the light is shining in the darkness, and the darkness has not embraced it". So it is not important at all, what objects are depicted in his mezzotints. Maestro Chmutin prefers fruits and vegetables, still-lifes, sometimes landscapes and other genres. But whatever he makes, behind the irreproachable naturalistic images one can always reveal the symbolical, verging on mystic. Stunning impression, that his depicted "herous"- garlic, onion, eggshell and other familiar items of our everyday life- are as if hiding, scrutinizing us, onlookers. This amazes and, undoubtedly, opens the gates of wisdom to the grateful spectator.

Alexander Sizif

Konstantin Chmutin belongs to those artists, whose works so far are acclaimed more abroad, than in Russia (however, in St. Petersburg , particularly among professionals, his name got merited authority since long time ago).

It seems that the time has come to fill up the gap in the memorial tablets of fame of the Russian art history, by serving the work of the named master the right to take one of the honourable places in the history of contemporary graphic arts.

St.Petersburg itself, its architecture, all the artistic environment since his childhood strongly influenced the development of his talent. The mysticism, which is sometimes being felt in Chmutins graphics, is evidently evoked by this city, may be the most enigmatic and fantastic one on earth.

The Hermitage and its collection of Dutch painting is another column, on which the temple of art, which is being erected by the artist, is consolidated. Among famous Old Masters, Rembrandt attracts him especially. Konstantin Chmutin tries to compare himself with Rembrandt in some aspects, worshiping him as the incomparable master. Though he doesn't idolize Rembrandt - the main idea is not who is being acknowledged to be the great, but to what extent the art of the recognized master is being the comprehension of the internal true of the existence. Among all the genres still-life attracts the master the most. But while looking at his laconic compositions (in which a spectator sees the most usual and, by any means, everyday objects) one gradually begins to realize, that the idea is not in the photographic precision of details and not at all in the wired forms of this or that object…

The point is - what's behind all this. Looking at the meditative still-lifes of K. Chmutin, a spectator after all is being astonished by the inexhaustible richness of nature, which has created what the artist then noticed and like a philosopher - connoisseur presented to onlookers. Through the forms, created by the artist, the motion of life in all its variable revelations is perceptible fairly tactile. Art of Konstantin Chmutin also has that enchanting "mirror- reflectivеness" , which is characteristic for works of the grand masters only,-each observer as if sees ones own inner world. Some people just perceive the image of a potato or a pepper as such, and somebody - everything depends on the spiritual mature of a recipient - opens the deep layers, in which enormous role plays the dramatic and often metaphysical perception of light and shade and their confrontation.

The vision of light by K.Chmutin may be related to the one of Rembrandt. In this regard "Decent from the Cross" by the famous Dutch and many graphic works of our artist have the common essence - only Rembrandt turns to the evangelical subject, somehow secularizing it, and Konstantin Chmutin, though obviously avoiding appeal to the Gospel, raises his still-lifes to the sacral level.

In recent years the master, not breaking off with St. Petersburg, mostly lives and works in New-York. But, at least in this particular case, one can't say that occured the cardinal break from the routs, which nourished Chmutins art. The background he has got at home, turned out to be so strong, that the "Petersburg school" is also clearly visible in his works, made abroad.

The intensification of the dramatic concealed meaning in his recent works is entirely natural and may be explained not only by the dramatic developments in the world, but also by the spiritual ascent to the new heights, where the true artist often starts to feel his solitude.

The author hopes that to those, who see his works for the first time, they'll become the pleasant surprise. And to those, who have not discovered for themselves the depth and artistic truth value of the masters works, we can only wish that they take a closer look at his works again. Michael Anikin, senior curator , the State Hermitage,
member of the Writers Association of Russia.