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#0155
The Society of Wood-R11 graving, Paris
de Sainte-Anne-la-Palud, revealed the power of a
master-worker, but it was in his smaller exhibits,
Ramasseuse d'aiguilles de pin, Vanneuse, Depart de
bateaux a Treboul, and Cimetiere de Perros-Guirec,
that one became conscious of a more intense
expression as well as a sympathetic know-ledge of
the Bretons and Brittany, the chief source of his
inspirations.
With the same artistic attractiveness, the work
of Auguste Lepere claimed attention. Apart from
his twenty-four prints on view, one could study
various editions of books illustrated from his blocks,
all of them revealing the same energy and vitality
for which his work is ever notable. Amongst his
framed examples the most distinguished were his
large print in brown, L'Abreuvoir, and his vigorous
coloured blocks, Coupeurs de bouts de cigares and
Le Port de Nantes. The prints by J. E. Laboureur
had each an individuality of its own, and formed
one of the most attractively decorative features of
the exhibition. His little print, Masque aux cheveux
dor, here reproduced in facsimile, was unique
amongst the more ambitious examples surrounding
it by its striking simplicity ; like all his other work
it had the uncommon quality of impressing itself
on one's visual memory for days after, and I fancy
it is only work born of sincerity that contains that
magical power.
But to linger over these descriptive thoughts
would be unfair to the other artists whose work
merits more than a restricted cataloguing, though
reference to them must be made more briefly. Of
the seven individual prints by G. A. Jacquin, his
Moulin a vent was especially remarkable for its
quaint decorative design and colour. J. G.
Veldheer contributed some distinctly personal and
individually attractive Dutch and German land-
scapes, his admirable skill and treatment of the
character one looks for in old architecture being
typically expressed in the accompanying illustration
Le Bourg {Nuremberg). For strength in crafts-
manship and strong decorative qualities the prints
by F. L. Schmied commanded no limited attention,
his sense of design being convincingly expressed
de Sainte-Anne-la-Palud, revealed the power of a
master-worker, but it was in his smaller exhibits,
Ramasseuse d'aiguilles de pin, Vanneuse, Depart de
bateaux a Treboul, and Cimetiere de Perros-Guirec,
that one became conscious of a more intense
expression as well as a sympathetic know-ledge of
the Bretons and Brittany, the chief source of his
inspirations.
With the same artistic attractiveness, the work
of Auguste Lepere claimed attention. Apart from
his twenty-four prints on view, one could study
various editions of books illustrated from his blocks,
all of them revealing the same energy and vitality
for which his work is ever notable. Amongst his
framed examples the most distinguished were his
large print in brown, L'Abreuvoir, and his vigorous
coloured blocks, Coupeurs de bouts de cigares and
Le Port de Nantes. The prints by J. E. Laboureur
had each an individuality of its own, and formed
one of the most attractively decorative features of
the exhibition. His little print, Masque aux cheveux
dor, here reproduced in facsimile, was unique
amongst the more ambitious examples surrounding
it by its striking simplicity ; like all his other work
it had the uncommon quality of impressing itself
on one's visual memory for days after, and I fancy
it is only work born of sincerity that contains that
magical power.
But to linger over these descriptive thoughts
would be unfair to the other artists whose work
merits more than a restricted cataloguing, though
reference to them must be made more briefly. Of
the seven individual prints by G. A. Jacquin, his
Moulin a vent was especially remarkable for its
quaint decorative design and colour. J. G.
Veldheer contributed some distinctly personal and
individually attractive Dutch and German land-
scapes, his admirable skill and treatment of the
character one looks for in old architecture being
typically expressed in the accompanying illustration
Le Bourg {Nuremberg). For strength in crafts-
manship and strong decorative qualities the prints
by F. L. Schmied commanded no limited attention,
his sense of design being convincingly expressed