DOI Heft:
Nr. 333 (February 1925)
DOI Artikel:Pearson, Ralph M.: Etchings as works of art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19984#0127
inceRnACionAC
Number One. The control of eye movement through organization z'ji/o three dimensional, or Jorm, design is the vital
qualitv of pictorial art rediscovered for us by the "modern movement" oj the day. This quality compels the transforming oj
subject matter, by the use oj partial abstraction, from the momentary, or particular aspect, to the universal aspect, and therefore
has enduring value. The works here shown are chosen from the entire history of etching for their possession of this quality.
The above, the earliest dated etching (l^If) is evidence of etching's early inheritance of the design quality which was then
basic in the training and work of all artists. The illustrations are arranged according to the birth dales of the artists.
ETCHINGS A8 WORKS OP ART
t J -P^^ofn c-f nf ilip com Lno resulted in wave after wave
^uRINO the past three A forecastof ™ <f™n9f of innovation beating
LJJ centuries out of the change in the'. standard of ^ J_
^ four which measure valuation in this aristocrat £ and successively shPock.
its history, etching has 0f all print mediums ing it with Turner, Whistler,
probably conformed more pATptrw PFARcSON the Impressionists, the Post-
strictly to a single tradition KALI H M. 1 l^IVOyiN ^ m^
than any other medium ^ WWllc w Shaw, Whitman, with Wagner, Brahms, Scriabine,
within the range of occidental.nvi . , h w klea of abstraction in pictoriaI art,
other mediums of expression, painting, sempuue, > ... ■ c r
oliici uicuiuiua i , tjle eeneraI 0f expressionism in stage setting, ot tree verse in
wood-block, literature, music,^ ^ ^ controlled discord in music, etc., etc.
pressure of the times towara ^ ^ ^ ^ ^ ^ ^ of eyoIution
interrupted by many indn^ ^ ^ ^ ^ ^ etcHng QnIy b
m etching .mmun t trom conte p ^ ^ ^ ^ ^ ^
ments and thought has cent ^ ^ ^ Rembrandt tQ ug ^ ^ generaI change>
mediums there has been the give a ferment, and, since Rembrandt as an
flictine standards—the outrage ot trie crowu h '
mcxmg t.td.nud.iua nrrented Espe- etcher has never been surpassed, with no general
r^T^^rS^or^yLBhMlto growth. This comfortable state of conformity
cially during the last iiitj or sixxyh;(s
been true, since the growing ™ ^ the morning of a new day§ It isStime for
insufficiency of the "truth to nature tneory
february i 9 2 5
f/iree ci#/!>fy-set>en
Number One. The control of eye movement through organization z'ji/o three dimensional, or Jorm, design is the vital
qualitv of pictorial art rediscovered for us by the "modern movement" oj the day. This quality compels the transforming oj
subject matter, by the use oj partial abstraction, from the momentary, or particular aspect, to the universal aspect, and therefore
has enduring value. The works here shown are chosen from the entire history of etching for their possession of this quality.
The above, the earliest dated etching (l^If) is evidence of etching's early inheritance of the design quality which was then
basic in the training and work of all artists. The illustrations are arranged according to the birth dales of the artists.
ETCHINGS A8 WORKS OP ART
t J -P^^ofn c-f nf ilip com Lno resulted in wave after wave
^uRINO the past three A forecastof ™ <f™n9f of innovation beating
LJJ centuries out of the change in the'. standard of ^ J_
^ four which measure valuation in this aristocrat £ and successively shPock.
its history, etching has 0f all print mediums ing it with Turner, Whistler,
probably conformed more pATptrw PFARcSON the Impressionists, the Post-
strictly to a single tradition KALI H M. 1 l^IVOyiN ^ m^
than any other medium ^ WWllc w Shaw, Whitman, with Wagner, Brahms, Scriabine,
within the range of occidental.nvi . , h w klea of abstraction in pictoriaI art,
other mediums of expression, painting, sempuue, > ... ■ c r
oliici uicuiuiua i , tjle eeneraI 0f expressionism in stage setting, ot tree verse in
wood-block, literature, music,^ ^ ^ controlled discord in music, etc., etc.
pressure of the times towara ^ ^ ^ ^ ^ ^ ^ of eyoIution
interrupted by many indn^ ^ ^ ^ ^ ^ etcHng QnIy b
m etching .mmun t trom conte p ^ ^ ^ ^ ^ ^
ments and thought has cent ^ ^ ^ Rembrandt tQ ug ^ ^ generaI change>
mediums there has been the give a ferment, and, since Rembrandt as an
flictine standards—the outrage ot trie crowu h '
mcxmg t.td.nud.iua nrrented Espe- etcher has never been surpassed, with no general
r^T^^rS^or^yLBhMlto growth. This comfortable state of conformity
cially during the last iiitj or sixxyh;(s
been true, since the growing ™ ^ the morning of a new day§ It isStime for
insufficiency of the "truth to nature tneory
february i 9 2 5
f/iree ci#/!>fy-set>en