DOI Heft:
No. 96 (March, 1901)
DOI Artikel:Mourey, Gabriel: Coloured etchings in France, [2]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19787#0120
Coloured Etchings in France.
as pictures are. His character figures, his modern must, however, mention the names of several artists
types, such as the Jeune Homme, his first coloured whose work in this direction presents many points
etching, and his Sportsman, recalling the works of of interest, notably MM. J. Pichon, J. Villon,
Kate Greenaway and Caldecott, his Faucheur and Georges Ey' Chenne, and Eugene Delatre.
his Cavalier, are plates full of significance, revealing M. Pichon draws extremely well, as his studies
the artist as an attentive observer and a most of animals prove ; indeed, the fact that he is a pupil
original portrayer of manners. In addition to these of M. Albert Besnard is sufficient guarantee in this
he has done some etchings of other varieties, notably respect. The method he employs in his coloured
Le Vieux Cure and Paysanne, a girl standing with etchings is a combination of the two pro-
a church as a background and an enormous white cesses already described—namely, a la poupee and
cloud rising from the horizon behind her Very the superposition of plates. As an animal painter
admirable also are the intensely poetical scenes in he is most expert, having a full knowledge of the
which M. Boutet de Monvel has been inspired by anatomy of the horse and of the dog. One feels
life among the watermen and haulers, for they are that he is conscientious and sincere, yet how cold
truly remarkable things, particularly Les H&leurs, and gloomy are his plates ! Always excepting his
Le Chaland, and La Pcniche. In their tragic Cheval de Chasse, his Vers le Rendezvous, and his
simplicity these intense pictures at times remind L'Habit Rouge, in which the colouring is delightful,
one of that powerful novel by Rechetnikow, Ceux his engravings look like so many natural history
de Podlipnai, wherein the Russian writer recounts blocks. Everything is scrupulously exact, but
so forcibly and so sadly the life of the Volga inanimate ; it has not undergone the transformation
boatmen. The impressions
of M. Boutet de Monvel's
etchings never exceed thirty
in number.
If, so far, I have dealt
almost exclusively with
these three artists, it is
with no intention of at-
tempting to establish any
absolute superiority on
their part over their fellow-
workers, but simply because
they seem to me to display
special and personal quali-
ties and an unusual degree
of sensibility. Together
with MM. Ranft, Godin,
and Houdard, to whom I
referred in my first article,
they seem to me to get the
utmost originality out of
etching in colours, and to
excel in their modes of
expression—in a word, to
say all that it is possible to
say in the limited vocabu-
lary of this branch of art.
Others there are, certainly,
no less deserving our atten
tion, but few of them, to
my mind, succeed in pre-
senting to our gaze the
coloured eau-forte in so. „ ., „„____
J ■ "VIEII.I.ARD ASSIS BY BERNARD li. DE MONVEI.
captivating a fashion. I (By permission of M. C. HessHe, Paris)
99
as pictures are. His character figures, his modern must, however, mention the names of several artists
types, such as the Jeune Homme, his first coloured whose work in this direction presents many points
etching, and his Sportsman, recalling the works of of interest, notably MM. J. Pichon, J. Villon,
Kate Greenaway and Caldecott, his Faucheur and Georges Ey' Chenne, and Eugene Delatre.
his Cavalier, are plates full of significance, revealing M. Pichon draws extremely well, as his studies
the artist as an attentive observer and a most of animals prove ; indeed, the fact that he is a pupil
original portrayer of manners. In addition to these of M. Albert Besnard is sufficient guarantee in this
he has done some etchings of other varieties, notably respect. The method he employs in his coloured
Le Vieux Cure and Paysanne, a girl standing with etchings is a combination of the two pro-
a church as a background and an enormous white cesses already described—namely, a la poupee and
cloud rising from the horizon behind her Very the superposition of plates. As an animal painter
admirable also are the intensely poetical scenes in he is most expert, having a full knowledge of the
which M. Boutet de Monvel has been inspired by anatomy of the horse and of the dog. One feels
life among the watermen and haulers, for they are that he is conscientious and sincere, yet how cold
truly remarkable things, particularly Les H&leurs, and gloomy are his plates ! Always excepting his
Le Chaland, and La Pcniche. In their tragic Cheval de Chasse, his Vers le Rendezvous, and his
simplicity these intense pictures at times remind L'Habit Rouge, in which the colouring is delightful,
one of that powerful novel by Rechetnikow, Ceux his engravings look like so many natural history
de Podlipnai, wherein the Russian writer recounts blocks. Everything is scrupulously exact, but
so forcibly and so sadly the life of the Volga inanimate ; it has not undergone the transformation
boatmen. The impressions
of M. Boutet de Monvel's
etchings never exceed thirty
in number.
If, so far, I have dealt
almost exclusively with
these three artists, it is
with no intention of at-
tempting to establish any
absolute superiority on
their part over their fellow-
workers, but simply because
they seem to me to display
special and personal quali-
ties and an unusual degree
of sensibility. Together
with MM. Ranft, Godin,
and Houdard, to whom I
referred in my first article,
they seem to me to get the
utmost originality out of
etching in colours, and to
excel in their modes of
expression—in a word, to
say all that it is possible to
say in the limited vocabu-
lary of this branch of art.
Others there are, certainly,
no less deserving our atten
tion, but few of them, to
my mind, succeed in pre-
senting to our gaze the
coloured eau-forte in so. „ ., „„____
J ■ "VIEII.I.ARD ASSIS BY BERNARD li. DE MONVEI.
captivating a fashion. I (By permission of M. C. HessHe, Paris)
99