DOI Heft:
No. 15 (June, 1894)
DOI Artikel:Jacomb Hood, George Percy: Dry-point etchings by Helleu
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17190#0081
Dry-Poii'its by Helleu
DRY-POINT ETCHINGS BY R°yal S°dety °f Pinter-Etchers where it was, of
HELLEU BY G P JACOMB C°urse' at °nce m welcome> 1 feel bound t0
respond to an invitation to make confession of the
HOOD. faith that is in me—a faith shared surely by all who
Explanation of, or apology for, an delight in beautiful and accurate line,
artist's work is unnecessary if offered by himself; . In etching, Helleu is almost a beginner—in
is insulting, if offered by another ; and even were it point of time, not of performance—proofs from
otherwise, as regards the work of such a craftsman his first plates were exhibited only the year before
as Helleu, neither apology nor explana-
tion could be needed, or shall be herein
attempted. In the modern art-world of
Paris—where the enthusiasm and esprit
de corps of the painter are at a higher
pitch than in any other art centre, and
where the excellent in any form is
at once recognised and applauded—
Helleu is a distinguished figure and a
member of the jury of the Salon of the
Champs-de-Mars. His hand shows
equal cunning with the brush, the pastel,
■or the etching-needle, and all his work
°± " FEMME A LA TASSE HELLEU
speaks of a delicate artistic instinct.
It is not always easy or possible to formulate last, at the Galleries of the Royal Society of Painter
■one's appreciation of the work of an artist, any Etchers in Pall Mall.
more than it is within one's power to say why, for Before that period, he had confined his studie
principally to pastel work, and his pictures in
that medium, showing the same delicate sense
of grace combined with delightful colour, were
exhibited at the Pastel Exhibitions at the
Grosvenor Gallery, and will be pleasurably re-
membered by artists.
As an etcher, Helleu acknowledges Tissot as
godfather, inasmuch as an awakening of enthu-
siasm for the craft and introduction to the
diamond of the dry-point needle are concerned.
As far as artistic intention and thought go,
we may place him in the group which com-
prises Sargent and Boldini; albeit his view and
expression of that view are quite individual.
An alert sympathy with the spontaneous and
bird-like movements of the well-dressed, well-
bred Parisian woman and child (with selection,
always, of the decorative aspect of such move-
ments), and the recording of these often
momentary actions in a comprehensive and
"witty way," mark the school—a school which
holds that to be dull and commonplace is the
one deadly sin.
Helleu, with a sensitive and sympathetic
nature, seems to seize and record on the copper,
instance, the taste of olives is agreeable to one with unerring dexterity, whatever is dainty and
palate and disagreeable to another. The matter unexpected in the turn of a woman's wrist, or in
is one of temperament. However, having (by a the composing of taper-fingers, with a pure and
mere accident) introduced M. Helleu's work to the delicate face. He seems to concern himself not
III No. 15.—June, 1894- 67
w
7\f
if
FEMME SE CHAUFFANT
DRY-POINT ETCHINGS BY R°yal S°dety °f Pinter-Etchers where it was, of
HELLEU BY G P JACOMB C°urse' at °nce m welcome> 1 feel bound t0
respond to an invitation to make confession of the
HOOD. faith that is in me—a faith shared surely by all who
Explanation of, or apology for, an delight in beautiful and accurate line,
artist's work is unnecessary if offered by himself; . In etching, Helleu is almost a beginner—in
is insulting, if offered by another ; and even were it point of time, not of performance—proofs from
otherwise, as regards the work of such a craftsman his first plates were exhibited only the year before
as Helleu, neither apology nor explana-
tion could be needed, or shall be herein
attempted. In the modern art-world of
Paris—where the enthusiasm and esprit
de corps of the painter are at a higher
pitch than in any other art centre, and
where the excellent in any form is
at once recognised and applauded—
Helleu is a distinguished figure and a
member of the jury of the Salon of the
Champs-de-Mars. His hand shows
equal cunning with the brush, the pastel,
■or the etching-needle, and all his work
°± " FEMME A LA TASSE HELLEU
speaks of a delicate artistic instinct.
It is not always easy or possible to formulate last, at the Galleries of the Royal Society of Painter
■one's appreciation of the work of an artist, any Etchers in Pall Mall.
more than it is within one's power to say why, for Before that period, he had confined his studie
principally to pastel work, and his pictures in
that medium, showing the same delicate sense
of grace combined with delightful colour, were
exhibited at the Pastel Exhibitions at the
Grosvenor Gallery, and will be pleasurably re-
membered by artists.
As an etcher, Helleu acknowledges Tissot as
godfather, inasmuch as an awakening of enthu-
siasm for the craft and introduction to the
diamond of the dry-point needle are concerned.
As far as artistic intention and thought go,
we may place him in the group which com-
prises Sargent and Boldini; albeit his view and
expression of that view are quite individual.
An alert sympathy with the spontaneous and
bird-like movements of the well-dressed, well-
bred Parisian woman and child (with selection,
always, of the decorative aspect of such move-
ments), and the recording of these often
momentary actions in a comprehensive and
"witty way," mark the school—a school which
holds that to be dull and commonplace is the
one deadly sin.
Helleu, with a sensitive and sympathetic
nature, seems to seize and record on the copper,
instance, the taste of olives is agreeable to one with unerring dexterity, whatever is dainty and
palate and disagreeable to another. The matter unexpected in the turn of a woman's wrist, or in
is one of temperament. However, having (by a the composing of taper-fingers, with a pure and
mere accident) introduced M. Helleu's work to the delicate face. He seems to concern himself not
III No. 15.—June, 1894- 67
w
7\f
if
FEMME SE CHAUFFANT