DOI Heft:
Nr. 176 (October, 1911)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43447#0407
Studio- Talk
curious to note how almost all the lithographs
were figure subjects and all the etchings scenery).
Conspicuous also were Joseph Pennell’s titanic
New York buildings with creeping little humanity
at their base. Other notable work was contributed
by Mary Creighton, E. A. Hope, W. Shackleton,
Ethel Gabain, John Copley (who seems to be
influenced by the French), and Spencer Pryse.
But above all must be mentioned the few litho-
graphs by Charles Conder, which for sheer poetry
and decoration were the finest things in the room.
The foreign section was as distinguished as the
English. Goya and Gavarni were represented
by splendid examples. Fantin-Latour, Carriere,
Anquetin, Manet, Millet, stood out among the
Frenchmen; and among the Germans S. von
Gravesande, Max Liebermann, and
Heinrich Wolff have the true instinct
for lithography. There were also
several coloured lithographs (T. R.
Way’s and Helleu’s, for instance):
but these seem on the whole to lack
the poetry and mystery which make
a good lithograph unique among
works of art. F. W. H.
PARIS.—Maurice Victor
Achener, of whose work as
an etcher and wood-en-
graver some examples are
here given, was born in Mulhouse,
Alsace, in 1881, of parents who were
originally French but after the war
of 1871 became German subjects.
He received his education in Stras¬
burg, where also he began his art
education at the age of seventeen,
in the Decorative Art School under
the instruction of Jordan Daubner.
In the spring of 1901, going to
Munich, he entered the Royal
Academy of Art, where he joined
the classes of Peter Halm and L.
V. Loefftz, and then five years later
he again made another change and
came to Paris to pursue his studies
in the Academie Julian, under Jean
Paul Laurens, in whose atelier he
remained for more than two years.
M. Achener has exhibited in Munich
and Berlin, and in Paris his work is
seen yearly at the Salon of the
Societe Nationale.
From his earliest work, including several plates
executed in Belgium, down to his most recent work,
which is a series of Italian etchings from Milan,
Brescia, Verona, Padua, and Venice, he has shown
a varied temperament, becoming stronger in ex-
pression of line and mass until he has developed a
keen, sensitive, painter-like quality giving light and
vibration by the simple means of pure line, at the
same time defining and appreciating the distinction
between the quality of etching and that of painting.
In his Italian and his later Paris series of etchings
the line is firmer and more simple in technique,
and the biting of the plate shows a greater variety
of delicacy, giving a convincingly stronger effect
and enhancing the quality of light and atmosphere
which is so often not taken sufficiently into con-
sideration in the art of etching.
WOOD-ENGRAVING ILLUSTRATING THE ALSATIAN LEGEND OF “ THE0-
DOLINDE.” BY M. V. ACHENER
312
curious to note how almost all the lithographs
were figure subjects and all the etchings scenery).
Conspicuous also were Joseph Pennell’s titanic
New York buildings with creeping little humanity
at their base. Other notable work was contributed
by Mary Creighton, E. A. Hope, W. Shackleton,
Ethel Gabain, John Copley (who seems to be
influenced by the French), and Spencer Pryse.
But above all must be mentioned the few litho-
graphs by Charles Conder, which for sheer poetry
and decoration were the finest things in the room.
The foreign section was as distinguished as the
English. Goya and Gavarni were represented
by splendid examples. Fantin-Latour, Carriere,
Anquetin, Manet, Millet, stood out among the
Frenchmen; and among the Germans S. von
Gravesande, Max Liebermann, and
Heinrich Wolff have the true instinct
for lithography. There were also
several coloured lithographs (T. R.
Way’s and Helleu’s, for instance):
but these seem on the whole to lack
the poetry and mystery which make
a good lithograph unique among
works of art. F. W. H.
PARIS.—Maurice Victor
Achener, of whose work as
an etcher and wood-en-
graver some examples are
here given, was born in Mulhouse,
Alsace, in 1881, of parents who were
originally French but after the war
of 1871 became German subjects.
He received his education in Stras¬
burg, where also he began his art
education at the age of seventeen,
in the Decorative Art School under
the instruction of Jordan Daubner.
In the spring of 1901, going to
Munich, he entered the Royal
Academy of Art, where he joined
the classes of Peter Halm and L.
V. Loefftz, and then five years later
he again made another change and
came to Paris to pursue his studies
in the Academie Julian, under Jean
Paul Laurens, in whose atelier he
remained for more than two years.
M. Achener has exhibited in Munich
and Berlin, and in Paris his work is
seen yearly at the Salon of the
Societe Nationale.
From his earliest work, including several plates
executed in Belgium, down to his most recent work,
which is a series of Italian etchings from Milan,
Brescia, Verona, Padua, and Venice, he has shown
a varied temperament, becoming stronger in ex-
pression of line and mass until he has developed a
keen, sensitive, painter-like quality giving light and
vibration by the simple means of pure line, at the
same time defining and appreciating the distinction
between the quality of etching and that of painting.
In his Italian and his later Paris series of etchings
the line is firmer and more simple in technique,
and the biting of the plate shows a greater variety
of delicacy, giving a convincingly stronger effect
and enhancing the quality of light and atmosphere
which is so often not taken sufficiently into con-
sideration in the art of etching.
WOOD-ENGRAVING ILLUSTRATING THE ALSATIAN LEGEND OF “ THE0-
DOLINDE.” BY M. V. ACHENER
312