DOI Heft:
No. 13 (April, 1894)
DOI Artikel:Rothenstein, William: Some remarks on artistic lithography
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17190#0029
Artistic Lithography
m the present number of The Studio, are done in graphy is rapidly becoming k dernier cri, he will
clack line ; indeed, it is a favourite theory of his probably continue to do so, in spite of the many
that it is impossible otherwise to produce a good gentlemen who hope to find salvation for their
lithograph ; and this attitude gives them, perhaps, lack of execution in a new material.
an additional interest. In France, MM. Anquetin, Besnard, Toulouse,
But any one who has seen that admirable de Lautrec, and Bonnard, some of whose prints
publication, The Dial, will have noticed therein were quite recently to be seen at the Grafton
lithographs of a rare beauty, and done almost Galleries, are doing brilliantly clever work, though
■entirely in white line, by Mr. Charles Shannon, none of them, except perhaps M. Anquetin, have,
I think, quite understood the
: ' " " ' ' ' necessary limits of the art, too
fond as they are of juggling
with their material.
For there are the canons of
lithography just as there are the
canons of etching, and those
who leap over the encircling
wall do so at their peril. Sadly,
too, do they misinterpret that
phrase of the immortal Barbey,
la difficulte fait I'heros. R.
II. By Thomas R. Way.
At the present moment, when
English artists are awakening
to the possibilities of litho-
graphy, a short description of
the various modes of work
suitable to their use in this
most delightful of reproductive
mediums may not be without
interest. It would be as well if
artists beginning to experiment
in lithography would give a
little study to the chemical prin-
ciples brought into action, as
well as the materials with which
they will have to deal. By so
doing, they would not only more
readily avoid making mistakes,
FR0M A LITHOGRApH BY C. H. SHANNON but WOuld reach tlie highest
results with the least labour.
IVIr Sh
• onannon, not very long ago, likewise pub- But the present article would be extended beyond
'shed a portfolio containing six prints, most reasonable bounds if any attempt were made here
°f them done in the same manner, though one to deal fully with the whole subject.
°f them, a portrait of the sculptor-poet, Mr. The materials consist of the lithographic stone
turge Moore, was drawn none the less admirably and the chalks with which the drawing is made.
w'th the pure chalk. Nor has Mr. Shannon The stone is an extremely close-textured limestone,
merely flirted with his material; he has become readily absorbent of grease and water. The draw-
one of the most gracefully accomplished and ing is made on the grained surface of the stone
scholarly lithographers of the day. In England, with chalk or ink of a greasy nature. When the
at Present,* he stands alone, and though litho- drawing is finished, the grease is fixed in the stone
* Mr. Whistler does not, I believe, wish to be regarded by the aid of chemicals, and the work is ready to
as an English painter. pass into the printers' hands.
« 17
m the present number of The Studio, are done in graphy is rapidly becoming k dernier cri, he will
clack line ; indeed, it is a favourite theory of his probably continue to do so, in spite of the many
that it is impossible otherwise to produce a good gentlemen who hope to find salvation for their
lithograph ; and this attitude gives them, perhaps, lack of execution in a new material.
an additional interest. In France, MM. Anquetin, Besnard, Toulouse,
But any one who has seen that admirable de Lautrec, and Bonnard, some of whose prints
publication, The Dial, will have noticed therein were quite recently to be seen at the Grafton
lithographs of a rare beauty, and done almost Galleries, are doing brilliantly clever work, though
■entirely in white line, by Mr. Charles Shannon, none of them, except perhaps M. Anquetin, have,
I think, quite understood the
: ' " " ' ' ' necessary limits of the art, too
fond as they are of juggling
with their material.
For there are the canons of
lithography just as there are the
canons of etching, and those
who leap over the encircling
wall do so at their peril. Sadly,
too, do they misinterpret that
phrase of the immortal Barbey,
la difficulte fait I'heros. R.
II. By Thomas R. Way.
At the present moment, when
English artists are awakening
to the possibilities of litho-
graphy, a short description of
the various modes of work
suitable to their use in this
most delightful of reproductive
mediums may not be without
interest. It would be as well if
artists beginning to experiment
in lithography would give a
little study to the chemical prin-
ciples brought into action, as
well as the materials with which
they will have to deal. By so
doing, they would not only more
readily avoid making mistakes,
FR0M A LITHOGRApH BY C. H. SHANNON but WOuld reach tlie highest
results with the least labour.
IVIr Sh
• onannon, not very long ago, likewise pub- But the present article would be extended beyond
'shed a portfolio containing six prints, most reasonable bounds if any attempt were made here
°f them done in the same manner, though one to deal fully with the whole subject.
°f them, a portrait of the sculptor-poet, Mr. The materials consist of the lithographic stone
turge Moore, was drawn none the less admirably and the chalks with which the drawing is made.
w'th the pure chalk. Nor has Mr. Shannon The stone is an extremely close-textured limestone,
merely flirted with his material; he has become readily absorbent of grease and water. The draw-
one of the most gracefully accomplished and ing is made on the grained surface of the stone
scholarly lithographers of the day. In England, with chalk or ink of a greasy nature. When the
at Present,* he stands alone, and though litho- drawing is finished, the grease is fixed in the stone
* Mr. Whistler does not, I believe, wish to be regarded by the aid of chemicals, and the work is ready to
as an English painter. pass into the printers' hands.
« 17