Most of the literature on lithography, with but few exceptions, states that it is necessary for an artist to draw upon the stone, and for a professional printer to "pull" or print the edition. Why has this dualistic assertion persisted? Most of the writer-experts in the medium of lithography claim that it takes many years of painstaking apprenticeship, much trial and some error, and an enormous output of labor before one can successfully "pull" a fine edition of prints from stone. They believe that the pursuit of qualitative printing is too strenuous for the artist, too complex a procedure for him to learn, too wasteful of his invaluable time (Lynton, 1950).
While all or part of these claims may be true, and it is not my intention to pursue the matter,
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