International studio (18.1902/1903)

/T ANUEL ROBBE. AN ETCHER
i\/S ^ COLOURS. BY GABRIEL
j Y HMOUREY.
ON various occasions, either in current
numbers of THE STUDio, or in the special number
devoted to a study of modern etching, we have
sung the praises of the charrn, reHnement, and
peculiar quality of coloured etching as practised
now in France. The favour it hnds with engravers
of original work is fully accounted for by the
endless and peculiar resources of the process, the
scope it offers, and the readiness with which it can
be applied to an inhnite variety of expression. It
is a really fascinating method of work, adaptable to
the purposes of the rnost dissimilar temperaments.
The productions to which it has been applied
during the last few years amply prove this. It is
obedient to the hand of each artist, a pliant instru-
rnent lending itself equally well to graceful and
to powerful themes, to hints of mystery, and to
subjects that demand sharpness and decision.
The plates—already numerous—which constitute

the work of M. Manuel Robbe are evidence of my
meaning. It is a real pleasure to note the dexterity
with which he makes use of this process, the new
and unexpected effects he gets out of it; very few
artists could achieve so great a variety of expres-
sion by one single method with such certainty of
touch. This is very modern and very attractive.
M. Robbe especially excels, in my opinion,
in depicting the modern woman—a somewhat
special type of the modern wornan, it must be said.
See the series of plates in which he depicts her—
the lady, the artist's wife, or the model—seated or
reclining or standing, in a studio or a drawing-
room, or studying some work of art; the woman
he shows us is of a quite peculiar stamp. There
is a wide gap between her and the women of
Helleu or Chahine. But indeed, M. Robbe
cares rnore for mass and outline than for character,
or, rather, for blots of colour than for expression—
in short, for silhouettes, yes, and and his
coloured etchings are carried out on this principle.
Consequently they are decorative ; they are in-
tended to hang on the wall rather than to


THE TRAIN " FROM THE COI.OUREI) ETCHING BY MAKUEL ROHBE
XVIII. No. 71.—JANUARY, 1903.

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