DOI issue:
No. 204 (March, 1910)
DOI article:Bröchner, Georg: Some notable swedish etchers
DOI Page / Citation link:https://doi.org/10.11588/diglit.20969#0139
Some Notable Swedish Etchers
true etcher, was to become Zorn’s Alpha and
Omega, is far more in evidence in the latter plate.
The next three or four years brought only a few
additional etchings from Zorn, but by 1889 his
needle becomes more prolific. Amongst the dozen
etchings from that year are his first self-portrait and
the first open-air nude, Une Premiere ; and in the
etching of a girl undressing preparatory to bathing,
his inimitable parallel line technique begins to
manifest itself in all its subtlety. To 1890
belongs, among others, the charming double por-
trait of the artist and his wife. The Afig/er, in
its scope more comprehensive than most of Zorn’s
etchings, is from 1891, as are also the striking
likeness of Max Liebermann and a portrait of
Zorn’s great friend and fellow-artist, Prince Eugen
of Sweden. The same year has also to its credit two
etchings which have already been reproduced in
The Studio—the Lady with Cigarette (vol. xxxviii.,
p. 281), and The Storm (xxvi., 55), in which Zorn
himself is seen on horseback galloping ahead
of a rapidly advancing storm—an etching upon
which, I believe, the artist sets special store.
Mme. Simon, likewise a singularly effective work,
also dates from 1891, as does In the Omnibus.
The following year Zorn did one of his most
famous etchings, Ernest Renan (reproduced in
The Studio, vol. xiii., p. 166), and the very
charming portrait of Mme. Olga Bratt; from 1893
are the portraits of Count Georg von Rosen (vol.
xiii., p. 170) and Mr. Wieselgren. The portrait
of Paul Verlaine and the double portrait of M.
and Mme. Fiirstenberg are dated 1895 ; the por-
trait of King Oscar is from 1898 ; Moja and The
Mother, two famous and delightful etchings, are
from 1900; the portrait of Albert Engstrom from
1905. One of the last, if not the last, of Zorn’s
etchings is the portrait of Prince Paul Troubetzkoi
in his studio, modelling a bust of Zorn ; this was
reproduced in The Studio for January this year.
Zorn is the ideal etcher; he reveres and revels
in the line—just as a great virtuoso loves and
reveres his instrument—and he discards with dis-
dain all auxiliary aids in which too many artists take
true etcher, was to become Zorn’s Alpha and
Omega, is far more in evidence in the latter plate.
The next three or four years brought only a few
additional etchings from Zorn, but by 1889 his
needle becomes more prolific. Amongst the dozen
etchings from that year are his first self-portrait and
the first open-air nude, Une Premiere ; and in the
etching of a girl undressing preparatory to bathing,
his inimitable parallel line technique begins to
manifest itself in all its subtlety. To 1890
belongs, among others, the charming double por-
trait of the artist and his wife. The Afig/er, in
its scope more comprehensive than most of Zorn’s
etchings, is from 1891, as are also the striking
likeness of Max Liebermann and a portrait of
Zorn’s great friend and fellow-artist, Prince Eugen
of Sweden. The same year has also to its credit two
etchings which have already been reproduced in
The Studio—the Lady with Cigarette (vol. xxxviii.,
p. 281), and The Storm (xxvi., 55), in which Zorn
himself is seen on horseback galloping ahead
of a rapidly advancing storm—an etching upon
which, I believe, the artist sets special store.
Mme. Simon, likewise a singularly effective work,
also dates from 1891, as does In the Omnibus.
The following year Zorn did one of his most
famous etchings, Ernest Renan (reproduced in
The Studio, vol. xiii., p. 166), and the very
charming portrait of Mme. Olga Bratt; from 1893
are the portraits of Count Georg von Rosen (vol.
xiii., p. 170) and Mr. Wieselgren. The portrait
of Paul Verlaine and the double portrait of M.
and Mme. Fiirstenberg are dated 1895 ; the por-
trait of King Oscar is from 1898 ; Moja and The
Mother, two famous and delightful etchings, are
from 1900; the portrait of Albert Engstrom from
1905. One of the last, if not the last, of Zorn’s
etchings is the portrait of Prince Paul Troubetzkoi
in his studio, modelling a bust of Zorn ; this was
reproduced in The Studio for January this year.
Zorn is the ideal etcher; he reveres and revels
in the line—just as a great virtuoso loves and
reveres his instrument—and he discards with dis-
dain all auxiliary aids in which too many artists take