DOI Heft:
Nr. 230 (April 1916)
DOI Artikel:A painter-etcher: Thomas R. Congdon
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43461#0125
A Painter-Etcher: Thomas R. Congdon
Owned by Baron Edmond de Rothschild
PALAIS DE LUXEMBOURG BY THOMAS R. CONGDON
A PAINTER-ETCHER: THOMAS R.
CONGDON
BY W. H. de B. NELSON
Painters who are not only masters
of the brush but also experts in the manipu-
lation of the needle and acid are markedly
few. Amongst those that occur most readily to
the mind are Zorn, Brangwyn and the subject of
this comment. These men are possibly the lead-
ing examples of this modern tendency of com-
bining tone quality with the exquisite charm of
the etched line, giving quality, texture and colour
as only a painter-etcher knows to do. The
upheaval in Europe will have accomplished some-
thing for American art and artists if only to send
back to us many of our best men who have won
honours abroad. Congdon’s art stands for virility
of conception, artistic dignity and sparkling
schemes of tertiary colour motives, whether in
the etched line or upon canvas. It is a permissi-
ble paradox to describe his work as carefully
careless and convincing for that very reason.
In this present brief sketch, no notice is taken
of his work in portraiture and genre, but we hope
later, when his crates arrive from Paris, to show
by illustrations some of his skill as a painter.
His last plate, La Seine (see next page), is
perhaps his best; it reveals a robust, decorative
and classically pictorial vision—the glowing lights
and rich shadows are well massed and effective.
The single arch suggests the whole length and
breadth of the famous bridge surmounted by
quaint old houses, whilst the barge horses and
figures in the dark foreground give excellent bal-
ance to the design; peace and mystery brood
over the scene with an implied assurance that
no hostile force will ever destroy it.
Saint Etienne du Mont, the most artistic bit of
Renaissance architecture of the Quartier Latin,
is another fine example of Congdon’s tender-
vigorous treatment in purely etched lines. This
plate, when exhibited in the Salon of the Societe
des Artistes Frangais, won enthusiastic admira-
XLV
Owned by Baron Edmond de Rothschild
PALAIS DE LUXEMBOURG BY THOMAS R. CONGDON
A PAINTER-ETCHER: THOMAS R.
CONGDON
BY W. H. de B. NELSON
Painters who are not only masters
of the brush but also experts in the manipu-
lation of the needle and acid are markedly
few. Amongst those that occur most readily to
the mind are Zorn, Brangwyn and the subject of
this comment. These men are possibly the lead-
ing examples of this modern tendency of com-
bining tone quality with the exquisite charm of
the etched line, giving quality, texture and colour
as only a painter-etcher knows to do. The
upheaval in Europe will have accomplished some-
thing for American art and artists if only to send
back to us many of our best men who have won
honours abroad. Congdon’s art stands for virility
of conception, artistic dignity and sparkling
schemes of tertiary colour motives, whether in
the etched line or upon canvas. It is a permissi-
ble paradox to describe his work as carefully
careless and convincing for that very reason.
In this present brief sketch, no notice is taken
of his work in portraiture and genre, but we hope
later, when his crates arrive from Paris, to show
by illustrations some of his skill as a painter.
His last plate, La Seine (see next page), is
perhaps his best; it reveals a robust, decorative
and classically pictorial vision—the glowing lights
and rich shadows are well massed and effective.
The single arch suggests the whole length and
breadth of the famous bridge surmounted by
quaint old houses, whilst the barge horses and
figures in the dark foreground give excellent bal-
ance to the design; peace and mystery brood
over the scene with an implied assurance that
no hostile force will ever destroy it.
Saint Etienne du Mont, the most artistic bit of
Renaissance architecture of the Quartier Latin,
is another fine example of Congdon’s tender-
vigorous treatment in purely etched lines. This
plate, when exhibited in the Salon of the Societe
des Artistes Frangais, won enthusiastic admira-
XLV