DOI Heft:
No. 190 (December, 1912)
DOI Artikel:In the Galleries
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43451#0419
In the Galleries
BY GEORGE REITER BRILL
the most powerful etchers of all time. From the
7th of November until the 30th of December these
will occupy the Keppel Galleries, and, being the
basis of all subsequent etching, should be taken
not only on their face value, but on their educa-
tional value as well.
The Berlin Galleries will continue this season
the interesting and highly unusual type of exhibi-
tion which ran last season, and which by their
brilliancy almost seems as though they were in-
tended to make us forget that the permanent
attractions of the establishment comprise a stock
of remarkable carbon and color photographs of
famous paintings.
The charm of colored etchings and modern color
prints is a comparatively new one for this country,
and those who are in any way attracted to these
will find many new examples in the galleries.
Those of Moulton & Ricketts and of A. II. Hahlo
& Co. contain an importation of recent aquatints
Associated Artists of Pittsburgh
“vanity”
Among current exhibitions which open the
season it would seem that the print fancier is
particularly favored. In the matter of
“popularity” (deplorable as the word is in con-
nection with the fine arts) it is evident that Frank
Brangwyn, the etcher, is looming strong and
powerful over all other etchers, like Rodin over
sculptors. Even if one be not an enthusiast on
etching, Brangwyn appeals through his tremen-
dous strength and virility, though amateur and
connoisseur alike would do well to study his plates
separately—seventy-five seen together are like
seventy-five kings; they are all co-important, and
while they do not fight with each other, they cer-
tainly are over-powering. But the Kraushaar
Galleries are showing a larger collection even than
last year, including many new plates. The Storm
is a small plate, but a very stormy one. Bran-
gwyn’s splendid apprecia¬
tion of the majesty of
architecture is manifest
in the Castella della Zizi,
Palermo, and of course
there are the two tremen¬
dous windmill plates, Dix-
mude and The Black Mill.
I do not know if the com-
parison has ever been
made between Brangwyn’s
Breaking Up the “Duncan"
and Seymour Hayden’s
Breaking Up the“Agamem¬
non." Comparisons are
usually unprofitable, but
the subject is so similar
here that there is point
to it.
At the Keppel Galleries
the print lover is again re-
warded for a visit by a
splendid showing of Rem-
brandt’s etchings—and
perhaps in these there is
interesting food for a still
closer comparison of Bran¬
gwyn. Certainly the lat-
ter’s Crucifixion and many
of his other plates have
much of the strength and
much of the violent play of
light and dark that made
the great Dutchman one of
TN THE GALLERIES
LV
BY GEORGE REITER BRILL
the most powerful etchers of all time. From the
7th of November until the 30th of December these
will occupy the Keppel Galleries, and, being the
basis of all subsequent etching, should be taken
not only on their face value, but on their educa-
tional value as well.
The Berlin Galleries will continue this season
the interesting and highly unusual type of exhibi-
tion which ran last season, and which by their
brilliancy almost seems as though they were in-
tended to make us forget that the permanent
attractions of the establishment comprise a stock
of remarkable carbon and color photographs of
famous paintings.
The charm of colored etchings and modern color
prints is a comparatively new one for this country,
and those who are in any way attracted to these
will find many new examples in the galleries.
Those of Moulton & Ricketts and of A. II. Hahlo
& Co. contain an importation of recent aquatints
Associated Artists of Pittsburgh
“vanity”
Among current exhibitions which open the
season it would seem that the print fancier is
particularly favored. In the matter of
“popularity” (deplorable as the word is in con-
nection with the fine arts) it is evident that Frank
Brangwyn, the etcher, is looming strong and
powerful over all other etchers, like Rodin over
sculptors. Even if one be not an enthusiast on
etching, Brangwyn appeals through his tremen-
dous strength and virility, though amateur and
connoisseur alike would do well to study his plates
separately—seventy-five seen together are like
seventy-five kings; they are all co-important, and
while they do not fight with each other, they cer-
tainly are over-powering. But the Kraushaar
Galleries are showing a larger collection even than
last year, including many new plates. The Storm
is a small plate, but a very stormy one. Bran-
gwyn’s splendid apprecia¬
tion of the majesty of
architecture is manifest
in the Castella della Zizi,
Palermo, and of course
there are the two tremen¬
dous windmill plates, Dix-
mude and The Black Mill.
I do not know if the com-
parison has ever been
made between Brangwyn’s
Breaking Up the “Duncan"
and Seymour Hayden’s
Breaking Up the“Agamem¬
non." Comparisons are
usually unprofitable, but
the subject is so similar
here that there is point
to it.
At the Keppel Galleries
the print lover is again re-
warded for a visit by a
splendid showing of Rem-
brandt’s etchings—and
perhaps in these there is
interesting food for a still
closer comparison of Bran¬
gwyn. Certainly the lat-
ter’s Crucifixion and many
of his other plates have
much of the strength and
much of the violent play of
light and dark that made
the great Dutchman one of
TN THE GALLERIES
LV