DOI Heft:
No. 38 (May, 1896)
DOI Artikel:The etchings of E. W. Charlton
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17296#0235
The Etchings of E. W. Charlton
ence to the catalogue, would be in itself sufficient to
repay their careful study. For the whole art of the
etcher is to say as much as possible in the fewest
lines, consequently, if he would avoid the common-
place, these few must be irresistibly true. As style
in writing is at its best when the idea is clearly and
unmistakably expressed in the most direct and
simple fashion, so in a good etching one forgets to
be astounded at its simplicity, for it has explained
its purpose so easily that no other possible way of
conveying the same effect is even suggested.
glance, nor does it even interest you on its own
merits. There is a certain quality in much very
faulty handwriting which is not without charm,
and there are some etchers who are in no way
entitled to be placed in the first rank who can
yet interest you in their work quite apart from its
subject.
For as a certain type of handwriting tempts you
to credit its author with much more than a bare
knowledge of the three "R's," so the true etcher
by his handling betrays intimacy with the brush
It is curious that with the same limited material
to work upon, the subtle difference in the manipu-
lation of the etched line should be so obvious.
Probably a person who had seen but few etchings
would imagine that all others must needs show
a strong family likeness. Yet as handwriting
varies infinitely, so the autograph of the etcher is
stamped with his personality more definitely than
he himself supposes. It is true, of course, that a
large number of people impress no individuality
upon their caligraphy or their drawings. The
clerkly handwriting of commercial correspondence,
like the technique of the commercial etching, may
be legible, neat, and educated up to a certain
point, but no one would recognise its author at a
320
and pencil. As in the first case you would attri-
bute a misspelt word or an ungrammatical phrase
to carelessness, not ignorance, so in the latter you
would be ready to forgive certain blunders, espe-
cially if the etching bore the impress of a rapid
sketch from Nature made out-of-doors. Parallels,
however, must not be pushed too far. Tempting
as it might be to exemplify etching by handwriting,
it would be absurd, for the one is merely the
means to an end—printed matter or the hideous
burlesque of the typewriter can accomplish the
same effect; but in etching no other medium can
give you exactly similar expression. In badly
informed circles pen-drawing and etching are
believed to be synonymous terms, yet people who
ence to the catalogue, would be in itself sufficient to
repay their careful study. For the whole art of the
etcher is to say as much as possible in the fewest
lines, consequently, if he would avoid the common-
place, these few must be irresistibly true. As style
in writing is at its best when the idea is clearly and
unmistakably expressed in the most direct and
simple fashion, so in a good etching one forgets to
be astounded at its simplicity, for it has explained
its purpose so easily that no other possible way of
conveying the same effect is even suggested.
glance, nor does it even interest you on its own
merits. There is a certain quality in much very
faulty handwriting which is not without charm,
and there are some etchers who are in no way
entitled to be placed in the first rank who can
yet interest you in their work quite apart from its
subject.
For as a certain type of handwriting tempts you
to credit its author with much more than a bare
knowledge of the three "R's," so the true etcher
by his handling betrays intimacy with the brush
It is curious that with the same limited material
to work upon, the subtle difference in the manipu-
lation of the etched line should be so obvious.
Probably a person who had seen but few etchings
would imagine that all others must needs show
a strong family likeness. Yet as handwriting
varies infinitely, so the autograph of the etcher is
stamped with his personality more definitely than
he himself supposes. It is true, of course, that a
large number of people impress no individuality
upon their caligraphy or their drawings. The
clerkly handwriting of commercial correspondence,
like the technique of the commercial etching, may
be legible, neat, and educated up to a certain
point, but no one would recognise its author at a
320
and pencil. As in the first case you would attri-
bute a misspelt word or an ungrammatical phrase
to carelessness, not ignorance, so in the latter you
would be ready to forgive certain blunders, espe-
cially if the etching bore the impress of a rapid
sketch from Nature made out-of-doors. Parallels,
however, must not be pushed too far. Tempting
as it might be to exemplify etching by handwriting,
it would be absurd, for the one is merely the
means to an end—printed matter or the hideous
burlesque of the typewriter can accomplish the
same effect; but in etching no other medium can
give you exactly similar expression. In badly
informed circles pen-drawing and etching are
believed to be synonymous terms, yet people who