DOI issue:
No. 159 (June, 1906)
DOI article:Strange, Edward F.: The Mezzotint and etched work of Frank Short, A. R. A.
DOI Page / Citation link: https://doi.org/10.11588/diglit.20715#0074
Frank Short, A.R.A., R.E.
“A SLANT OF LIGHT, POLPERRO ”
FROM THE MEZZOTINT BY FRANK SHORT
nineteenth century comes to be made up, it will be
found that, ofall theitems therein, theonetothe credit
of British engraving and etching is neither the least
valuable nor the least interesting. In 1800, mezzo-
tint was nearly at its best; aquatint gaining every
day in popularity; line and stipple engraving still
with brilliant and capable exponents; only etching—
in the true sense—for the time neglected. There is
no need here to tell the tale of the years that fol-
lowed : how mezzotint decayed and became cor-
rupt; and, finally, in spite of the brilliant renaissance
of the Turner period, vanished altogether; how line
engraving in all its varieties suffered in the same
way; how the lithograph arose and ousted the
aquatint as a cheap and convenient means of illus-
trating books ; and how etching, though vivified for
the moment by the genius of the Norwich group,
and of Wilkie and Geddes, remained misunderstood
and uninspired until AVhistler and Sir Seymour
Haden taught once more the truths of the older
days ; and gave them again to the world with the
impress of their own skill and individuality. These
things need not be reiterated in detail; but it is
well to be aware of them in order to get the matter
—as it stands to-day—into proper perspective.
Thanks mainly to the missionary labours and strong
example of the two last-named artists, the art ot
etching bids well to attain a popularity and a high
level of excellence in this country, surpassing any
of its earlier manifestations ; mezzotint and aqua-
tint have their worthy practitioners, and only the
ancient craft of the burin seems, for the time, utterly
to have been lost.
The Royal Academy has set a seal of quite
unusual significance upon this modern revival, by
choosing two of its foremost men for the honour
of Associate Engraver, an honour which, wisely
enough, had been allowed to lapse for many years.
Seeing that the dignity is one always given to artists
for whom the future is expected to promise things
greater yet than they have achieved; the choice of
Mr. William Strang, etcher, and of Mr. Frank
Short, etcher and engraver, could hardly have been
bettered; and it is probable that few recent elec-
tions have been received by the public with more
general approval. My present concern is with the
latter only: to try to indicate some reasons why
this verdict is sound and should endure.
One notable quality compels recognition at the
outset, a quality especially remarkable in an age
of short cuts and makeshifts in matters of artistry.
Probably no man alive more keenly feels and
53
“A SLANT OF LIGHT, POLPERRO ”
FROM THE MEZZOTINT BY FRANK SHORT
nineteenth century comes to be made up, it will be
found that, ofall theitems therein, theonetothe credit
of British engraving and etching is neither the least
valuable nor the least interesting. In 1800, mezzo-
tint was nearly at its best; aquatint gaining every
day in popularity; line and stipple engraving still
with brilliant and capable exponents; only etching—
in the true sense—for the time neglected. There is
no need here to tell the tale of the years that fol-
lowed : how mezzotint decayed and became cor-
rupt; and, finally, in spite of the brilliant renaissance
of the Turner period, vanished altogether; how line
engraving in all its varieties suffered in the same
way; how the lithograph arose and ousted the
aquatint as a cheap and convenient means of illus-
trating books ; and how etching, though vivified for
the moment by the genius of the Norwich group,
and of Wilkie and Geddes, remained misunderstood
and uninspired until AVhistler and Sir Seymour
Haden taught once more the truths of the older
days ; and gave them again to the world with the
impress of their own skill and individuality. These
things need not be reiterated in detail; but it is
well to be aware of them in order to get the matter
—as it stands to-day—into proper perspective.
Thanks mainly to the missionary labours and strong
example of the two last-named artists, the art ot
etching bids well to attain a popularity and a high
level of excellence in this country, surpassing any
of its earlier manifestations ; mezzotint and aqua-
tint have their worthy practitioners, and only the
ancient craft of the burin seems, for the time, utterly
to have been lost.
The Royal Academy has set a seal of quite
unusual significance upon this modern revival, by
choosing two of its foremost men for the honour
of Associate Engraver, an honour which, wisely
enough, had been allowed to lapse for many years.
Seeing that the dignity is one always given to artists
for whom the future is expected to promise things
greater yet than they have achieved; the choice of
Mr. William Strang, etcher, and of Mr. Frank
Short, etcher and engraver, could hardly have been
bettered; and it is probable that few recent elec-
tions have been received by the public with more
general approval. My present concern is with the
latter only: to try to indicate some reasons why
this verdict is sound and should endure.
One notable quality compels recognition at the
outset, a quality especially remarkable in an age
of short cuts and makeshifts in matters of artistry.
Probably no man alive more keenly feels and
53