DOI Heft:
No. 11 (February, 1894)
DOI Artikel:Harper, Charles George: Drawing for reproduction: Impressionism in black and white
DOI Artikel:Baldry, Alfred Lys: The Grafton Galleries
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17189#0189
The Grafton Galleries
made by Gillot of Paris, and is alto-
gether admirable as a block. It is
rouletted to an extreme pitch in the
attempt to reproduce the greyed lines
of the drawing, and rouletted in seve-
ral patterns.
Simpler in execution than any
others of these several examples are
■the initial letter of this article, and
the small illustration, The Village
Street—Tintern : Night. The first
is just a slight study of an iris,
sketched upon the grained, clay-
surfaced cardboard familiarly known
as "scratch-out," already referred to
in previous numbers of The Studio. «xhe village street—tintern : night." original drawing (nixgj)
The latter was a rough pen-drawing with an added grain
•of large size scribbled over with blue
pencil, to indicate where the process-engraver should work ; and the total also includes twenty exam-
transfer his mechanical grey tint. C. G. H. pies of sculpture. The two hundred and fifty
paintings, which remain after deducting these,
THE GRAFTON GALLERIES. BY inf ^e examPles of m*n{ British and Continental
schools, expressions of the strange diversities of
' ' opinion of which modern art conviction is made
There are in the present exhibition up, and of the amazing variation in technical
at the Grafton Galleries some three practice which is the inevitable effect of present-
hundred and seventy works of art. Of these day tentativeness. For the purposes of an exhibi-
a hundred are by Albert Moore, a memorial col- tion, however, these pictures have been well chosen,
Jection brought together to illustrate his life's as they appeal to all types of art-lovers, and have
'a lonely sea-shore," from a drawing (lOx6A) in diluted inks, the block touched up
and freely rouletted
177
made by Gillot of Paris, and is alto-
gether admirable as a block. It is
rouletted to an extreme pitch in the
attempt to reproduce the greyed lines
of the drawing, and rouletted in seve-
ral patterns.
Simpler in execution than any
others of these several examples are
■the initial letter of this article, and
the small illustration, The Village
Street—Tintern : Night. The first
is just a slight study of an iris,
sketched upon the grained, clay-
surfaced cardboard familiarly known
as "scratch-out," already referred to
in previous numbers of The Studio. «xhe village street—tintern : night." original drawing (nixgj)
The latter was a rough pen-drawing with an added grain
•of large size scribbled over with blue
pencil, to indicate where the process-engraver should work ; and the total also includes twenty exam-
transfer his mechanical grey tint. C. G. H. pies of sculpture. The two hundred and fifty
paintings, which remain after deducting these,
THE GRAFTON GALLERIES. BY inf ^e examPles of m*n{ British and Continental
schools, expressions of the strange diversities of
' ' opinion of which modern art conviction is made
There are in the present exhibition up, and of the amazing variation in technical
at the Grafton Galleries some three practice which is the inevitable effect of present-
hundred and seventy works of art. Of these day tentativeness. For the purposes of an exhibi-
a hundred are by Albert Moore, a memorial col- tion, however, these pictures have been well chosen,
Jection brought together to illustrate his life's as they appeal to all types of art-lovers, and have
'a lonely sea-shore," from a drawing (lOx6A) in diluted inks, the block touched up
and freely rouletted
177