DOI Heft:
No. 240 (March 1913)
DOI Artikel:Taylor, Ernest Archibald: The first exhibition of the Society of Wood-Engraving, Paris
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21160#0151
The Society of Wood-Engraving, Paris
THE FIRST EXHIBITION OF It is the recognition of this affinity of the subject
THE SOCIETY OF WOOD- with the method and medium that gives vitality to
t-^t^t^ttt^t^ TiAT^rr- all good work, just as it is the lack of it that
ENGRAVING, PARIS. , .., ' u . .,
produces lifelessness m otherwise excellent com-
To artist, student, and public alike there are no positions whose rhythm has been destroyed by the
more interesting exhibitions in Paris than those use of an unsympathetic metier.
held from time to time in the Pavilion de Marsan. In this exhibition there was much work reveal-
Their special feature has always been a lucid ing a technical excellence which was interesting,
display of each exhibitor's work. The recent first but its brilliant superficiality was dimmed beside
exhibition of the Societe de la Gravure sur Bois the masterly achievements of the comparatively
Originale was in no way behind those pertaining few who had expressed their knowledge and power
to other branches of art that preceded it. Apart by artistic means and not craftsmanship alone,
from the fascinating display of framed prints, one Standing before the works of Henri Riviere one
could leisurely enjoy studying many of the artists' wished for nothing more and nothing less than he
original blocks in their various stages, as well as had expressed. Each print contained that in-
the tools they had employed. The most attractive definable essence of greatness which one recognises
exhibit of that kind shown was a series of blocks in the work of a rare artist. He had lately shown
and prints by Paul-Emile Colin. In .viewing the me some of his recent water-colours, and to have
craftsmanship on the wood itself, one felt how seen them in conjunction with his coloured wood-
distinctly personal it was. The artist's use of a engravings was to fully realise his power of
penknife was admirably shown on the wood, and abstracting from either medium only that which is
gave to his prints a rustic quality in excellent part of itself and was closely allied to his intefpre-
harmony with similar characteristics in his subjects, tation of his subject. His large print, Le Pardon
" l'abreuvoir "
128
( Copyright E. Sagot)
from a monochrome print by auguste lepere
THE FIRST EXHIBITION OF It is the recognition of this affinity of the subject
THE SOCIETY OF WOOD- with the method and medium that gives vitality to
t-^t^t^ttt^t^ TiAT^rr- all good work, just as it is the lack of it that
ENGRAVING, PARIS. , .., ' u . .,
produces lifelessness m otherwise excellent com-
To artist, student, and public alike there are no positions whose rhythm has been destroyed by the
more interesting exhibitions in Paris than those use of an unsympathetic metier.
held from time to time in the Pavilion de Marsan. In this exhibition there was much work reveal-
Their special feature has always been a lucid ing a technical excellence which was interesting,
display of each exhibitor's work. The recent first but its brilliant superficiality was dimmed beside
exhibition of the Societe de la Gravure sur Bois the masterly achievements of the comparatively
Originale was in no way behind those pertaining few who had expressed their knowledge and power
to other branches of art that preceded it. Apart by artistic means and not craftsmanship alone,
from the fascinating display of framed prints, one Standing before the works of Henri Riviere one
could leisurely enjoy studying many of the artists' wished for nothing more and nothing less than he
original blocks in their various stages, as well as had expressed. Each print contained that in-
the tools they had employed. The most attractive definable essence of greatness which one recognises
exhibit of that kind shown was a series of blocks in the work of a rare artist. He had lately shown
and prints by Paul-Emile Colin. In .viewing the me some of his recent water-colours, and to have
craftsmanship on the wood itself, one felt how seen them in conjunction with his coloured wood-
distinctly personal it was. The artist's use of a engravings was to fully realise his power of
penknife was admirably shown on the wood, and abstracting from either medium only that which is
gave to his prints a rustic quality in excellent part of itself and was closely allied to his intefpre-
harmony with similar characteristics in his subjects, tation of his subject. His large print, Le Pardon
" l'abreuvoir "
128
( Copyright E. Sagot)
from a monochrome print by auguste lepere