International studio (23.1904)

Felix Bracquemond


“ LE LOU DANS LA NEIGE

BY FELIX BRACQUENJOND

testimony as to how the work of engraving the
plate was conducted from start to finish. These
evidences are known as “ states.” The “ state ” of
a plate (the master has once more confirmed my
opinion) in course of execution is indispensable to
the engraver, in order that he may know the
exact depths of the lines he has hollowed out
on the metal, whether by acid or by steel. For
let it be understood that it is a very delicate
business; the engraved metal gives but a false
idea—a vague indication—of the depths to which
its surface has been pierced. Thus the artist can
never know the degree of effect, the technical
expression—the vahie, in a word, of his work until
he shall have seen its impression on paper. The
“state” tells him how near the plate is to com-
pletion, or how far away; therefore on examining
carefully these “states” one is able to discover
how the engraver completes or corrects the action
of the acid or the graver. The “ state ” is accord-
ingly more than a testimony of technical dexterity
only; it is more particularly a most subtle and
precise artistic test of the engraver’s knowledge of
modelling ; and it is for that reason one looks with
such extreme interest at the “ states ” of each
engraving by Bracquemond.
The artist, as M. Beraldi explains, is master of
all the finesses, all the secrets of his craft. He is
a great seeker of new processes, and has made

experiments in all directions : verms mou, aquatint,
etc. He has even attempted engravings in colour
after the manner of Debucourt. At the same time
it is interesting to note that Bracquemond’s tools
are of the simplest; but he is very hard to please
as to the paper he uses.
In the revival of engraving predicted by Baude-
laire in 1848, and accomplished in the latter half
of the nineteenth century, Bracquemond is assuredly,
so far as France is concerned, the leading figure.
His influence is, and has always been, very great.
The truth is, he is one of those great artists whose
work recks not of any fluctuation of taste, and,
from that very fact, preserves always and under all
conditions its lofty and profound significance.
Henri Frantz.

A well-known connoisseur and collector has
recently died in Melbourne, leaving the bulk of
his collection of pictures, books, etc., to the
Melbourne National Gallery, together with a per-
manent endowment, amounting to ,£5,000 per
annum. Under the terms of the will the whole
of his pictures, engravings, books, etc., are
placed at the disposal of the trustees of the
National Gallery; and the interest accruing on
property and money invested is to be devoted
to the purchase of works of art only.

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