DOI issue:
No. 95 (February, 1901)
DOI article:Mourey, Gabriel: Coloured etchings in France, [1]
DOI Page / Citation link:https://doi.org/10.11588/diglit.19787#0023
Coloured Etchings in France
less rapid than the other; consequently it is less it is impossible to limit the range of each colour,
generally in use than No. i. Its technical beauty deformities inevitably result in the "pulling."
is, however, incontestable, and it has the further M. Degas is, I think, the only artist who has
merit of being subject to very few risks. The obtained good results from this method, and his
engraver can obtain the effects he desires with " monotypes " must really be regarded as originals,
absolute certainty, and altogether it represents the since his custom is to touch them up with pencil
Polychrome etcher's ideal, which is a plate from or brush. Hence their high value. MM. Ranft,
which anyone can obtain prints, so many and so Charles Maurin, Francis Jourdain, Potter, and
skilful have been the precautions taken by the Luigini have also made experiments in this curious
engraver. With process No. i, on the other hand, style.
much depends on him who prints the plates. If That admirable artist, A. Lepere, has produced
he be incompetent or inexperienced, it may well but few etchings in colours, the only important
haPpen that none of the effects desired and plates signed by him being, if I mistake not,
obtainable by this method will be secured. The Les Blanchisseuses, done for "L'Estampe Originate,"
Printer is here really the collaborator of the and Les Quais de Bordeaux (1897). Here the
engraver, and it is not too
much to say that but for___ -----
1 W 'm *"iWHf- ■'^BHI i ^HHsflB^HIri
"is skill and dexterity and ■T3,ESrlfik',^S
artistic feeling most of the BMM^9l£! m hMh!
coloured etchings done a
fa fioupee would, so to
sPeak, not be in existence.
1 his being so, surely the
name of the printer should
appear on the plate to-
gether with that of the
engraver! Take, for ex-
ample, the case of M.
Eugene Delatre, a printer
°f plates and himself a
talented engraver. Why
should he, and such as he,
be ignored ?
One arrives at the con-
clusion that the best of all
processes for etching in
colours is that which shall •
combine the advantages of * jS
the two systems briefly
described above. This fact
has been realised by MM.
Eugene Bejot (see page 13)
and Charles Maurin, who
have obtained truly remark-
able results therefrom. flT _^JT^jBHB|JHj^»]3V /fc.''a,,^Xf /W3*
To complete these tech- If j^Hn '■^^^HSSiSB- J } r'nW
Js entirely dry. The copper
remains unaffected, and as " enfants au parc" ™om a coloured etching by c. uetout
less rapid than the other; consequently it is less it is impossible to limit the range of each colour,
generally in use than No. i. Its technical beauty deformities inevitably result in the "pulling."
is, however, incontestable, and it has the further M. Degas is, I think, the only artist who has
merit of being subject to very few risks. The obtained good results from this method, and his
engraver can obtain the effects he desires with " monotypes " must really be regarded as originals,
absolute certainty, and altogether it represents the since his custom is to touch them up with pencil
Polychrome etcher's ideal, which is a plate from or brush. Hence their high value. MM. Ranft,
which anyone can obtain prints, so many and so Charles Maurin, Francis Jourdain, Potter, and
skilful have been the precautions taken by the Luigini have also made experiments in this curious
engraver. With process No. i, on the other hand, style.
much depends on him who prints the plates. If That admirable artist, A. Lepere, has produced
he be incompetent or inexperienced, it may well but few etchings in colours, the only important
haPpen that none of the effects desired and plates signed by him being, if I mistake not,
obtainable by this method will be secured. The Les Blanchisseuses, done for "L'Estampe Originate,"
Printer is here really the collaborator of the and Les Quais de Bordeaux (1897). Here the
engraver, and it is not too
much to say that but for___ -----
1 W 'm *"iWHf- ■'^BHI i ^HHsflB^HIri
"is skill and dexterity and ■T3,ESrlfik',^S
artistic feeling most of the BMM^9l£! m hMh!
coloured etchings done a
fa fioupee would, so to
sPeak, not be in existence.
1 his being so, surely the
name of the printer should
appear on the plate to-
gether with that of the
engraver! Take, for ex-
ample, the case of M.
Eugene Delatre, a printer
°f plates and himself a
talented engraver. Why
should he, and such as he,
be ignored ?
One arrives at the con-
clusion that the best of all
processes for etching in
colours is that which shall •
combine the advantages of * jS
the two systems briefly
described above. This fact
has been realised by MM.
Eugene Bejot (see page 13)
and Charles Maurin, who
have obtained truly remark-
able results therefrom. flT _^JT^jBHB|JHj^»]3V /fc.''a,,^Xf /W3*
To complete these tech- If j^Hn '■^^^HSSiSB- J } r'nW
Js entirely dry. The copper
remains unaffected, and as " enfants au parc" ™om a coloured etching by c. uetout