International studio (50.1913)

Emile A. Verpilleux

renewed activity) it may have even a beneficial
effect on modern art.
It was once held that art was the expression of
thought or emotion in crystal-clear language, but
the doctrine that “ to be great is to be misunder-
stood ” opened the way to that quality of greatness
for all sorts of small fry who readily snap at a
glittering bait.
The work of Mr. Emile Verpilleux possesses
this rare quality of clear expression. It divides
itself readily into two forms of activity—his work
in oil-paint and his more developed practice in
wood-engraving.
It is with regard to the latter that Mr. Verpilleux
is winning recognition; and in that particular
metier he has, at the present stage of his develop-
ment, found the fullest
power of expression. De¬
spite a degree of accom¬
plishment in the use of
oil-paint for the production
of effects of aesthetic charm,
he has not yet developed
that medium to quite the
point of artistic excellence
which he has attained in his
practice of woodcutting.
The reason is not far to
seek, for the latter art is
somewhat arbitrarily bound
by material limitations, so
that the extent of its power
of expression is more easily
comprehensible. Moreover
the circumstances of his
career have naturally led
him towards this branch of
art. Mr. Verpilleux has
proved, however, in his
latest prints that the
medium is capable of pro¬
ducing effects of vibrating
colour of great subtlety and
delicacy which had not
previously been attempted
—at least to anything like
the same high degree. His
main achievement lies,
therefore, in his having
brought the art of wood¬
cutting to a very high point
—to a quite new stage—
in the direction of the
realisation of infinite
264

gradation of colour according to what Chevreul
called the “ simultaneous contrast of colours.” He
has, moreover, obtained his effects, in a strictly
logical manner, without tricks, by straightforward
cutting and gouging, involving sometimes the
auxiliary use of a tool of his own not perhaps
familiar to wood-engravers.
His method enables him to work on the ordinary
surface of the block and not on that specially
prepared surface obtained by cutting the wood
against the grain, which has previously been con-
sidered indispensable to wood-engraving.
All Mr. Verpilleux’ prints are impressed on
ordinary thick absorbent paper, so that, it may be
seen, they rely entirely on their intrinsic qualities
without the adventitious aid of fine paper or

INTERIOR OF ST. PAUL’S CATHEDRAL ” (WOOD-ENGRAVING IN COLOUR)
BY E. A. VERPILLEUX
(By permission of Messrs. Colnaghi and Obach )