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#0024
Coloured Etchings in France
colouring is quite conventional, and does not aim The first multi-coloured eaux-fortes by M. Richard
at pictorial effect; the ground of the paper is to Ranft—Le Cantonnier, Femme epluchant des legumes,
a large extent visible, the surface of the plate re- for instance—are akin to the type I have briefly
maining pure and clear, with, so to speak, no great described above. The strokes in the drawing itself
masses of colour. are in various tones, but there are no masses of
The dry-points by M. J. F. Raffaelli are similar in colour, just the lightest tints with the paper showing
character. "In his paintings and pastels," remarks through, and with broad patches of white balancing
M. Georges Lecomte very justly, "he obtains his the whole. So, too, in Au Bal a similar principle
harmonies by sombre touches. To obtain them in prevails. Here the "dominant" is a blue nocturnal
his coloured dry-points it suffices for him to indicate atmosphere, relieved solely by the gleam of the
them by means of a simple note. But what a note! paper lanterns, yellow, red, and green. Le Bar is
True, timely, such as only a fine painter, of subtlest a sort of monochrome in bistre, marked by great
eye and fullest knowledge, could produce." Nothing masses of colour, a mixture of fantasy and reality
could be more apt. The polychrome dry-points clearly characteristic of the gifts and the methods
by M. Raffaelli are indeed charming things. of M. Ranft. La Fillette au Carlin, Les Regales,
Although, down to the present, Steinlen has pro- the numerous scenes of circus and dancing scenes,
duced but few coloured etchings, one feels, never- such as L'Etoile, Le Bal bare, Danseuses
theless, that, with his acute and supple talent and Espagnoles, Aux Folies-Bergere, and that ex-
the readiness with which he penetrates the secrets quisite plate, Salut de PEcuyere, are no less
of all methods of expression, it will not be long captivating. The artist's last etching, styled
before he makes himself master of the medium. In L'Hiver, representing, in an infinitely delicate
support of this prediction it is only necessary to arrangement of whites and greys, and pinks and
point to La Blanchisseuse, a remarkable production yellows, a young woman walking beside an old
in which can be traced all those qualities that make man along the snow-covered quay, with the tall
Steinlen one of the first draughtsmen of the day. silhouette of Notre Dame in the background, shows
'■LB PAS DIFFICILE'' FROM A COLOURED ETCHING BY RICHARD RAX FT
colouring is quite conventional, and does not aim The first multi-coloured eaux-fortes by M. Richard
at pictorial effect; the ground of the paper is to Ranft—Le Cantonnier, Femme epluchant des legumes,
a large extent visible, the surface of the plate re- for instance—are akin to the type I have briefly
maining pure and clear, with, so to speak, no great described above. The strokes in the drawing itself
masses of colour. are in various tones, but there are no masses of
The dry-points by M. J. F. Raffaelli are similar in colour, just the lightest tints with the paper showing
character. "In his paintings and pastels," remarks through, and with broad patches of white balancing
M. Georges Lecomte very justly, "he obtains his the whole. So, too, in Au Bal a similar principle
harmonies by sombre touches. To obtain them in prevails. Here the "dominant" is a blue nocturnal
his coloured dry-points it suffices for him to indicate atmosphere, relieved solely by the gleam of the
them by means of a simple note. But what a note! paper lanterns, yellow, red, and green. Le Bar is
True, timely, such as only a fine painter, of subtlest a sort of monochrome in bistre, marked by great
eye and fullest knowledge, could produce." Nothing masses of colour, a mixture of fantasy and reality
could be more apt. The polychrome dry-points clearly characteristic of the gifts and the methods
by M. Raffaelli are indeed charming things. of M. Ranft. La Fillette au Carlin, Les Regales,
Although, down to the present, Steinlen has pro- the numerous scenes of circus and dancing scenes,
duced but few coloured etchings, one feels, never- such as L'Etoile, Le Bal bare, Danseuses
theless, that, with his acute and supple talent and Espagnoles, Aux Folies-Bergere, and that ex-
the readiness with which he penetrates the secrets quisite plate, Salut de PEcuyere, are no less
of all methods of expression, it will not be long captivating. The artist's last etching, styled
before he makes himself master of the medium. In L'Hiver, representing, in an infinitely delicate
support of this prediction it is only necessary to arrangement of whites and greys, and pinks and
point to La Blanchisseuse, a remarkable production yellows, a young woman walking beside an old
in which can be traced all those qualities that make man along the snow-covered quay, with the tall
Steinlen one of the first draughtsmen of the day. silhouette of Notre Dame in the background, shows
'■LB PAS DIFFICILE'' FROM A COLOURED ETCHING BY RICHARD RAX FT