DOI Heft:
No. 248 (November 1913)
DOI Artikel:Newbolt, Frank: The etchings of E. M. Synge, A. R. E.
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21208#0126
E. M. Synge s Etchings
Edinburgh from Salisbury Crags, is well contrasted
by its airy simplicity with the more pictorial In the
Cotswold Country, and these and the Poplars (un-
finished), diverse as they are, seem equally good
examples of Synge’s work.
It is worthy of note that, at great expense of
time and labour, he acquired the art of printing,
and for years printed all his own proofs. His
printing was really characteristic of his thoroughness
and determination, and also of the sober, restrained
aim of his work. What is called the theatrical in
biting or printing did not tempt him, and one likes
to remember that, even when he was busy, he
could spare half a day to print for a friend. So far
as I recollect, it was Charles Welch who taught him
some of the mysteries of the craft, and he is, I sup-
pose, the most successful printer in the world.
Though it has nothing to do with the intrinsic
merits of his plates, which must eventually be judged
by themselves alone, it is interesting as we look at
them to reflect that a man who never had good
health etched no fewer than two hundred and twenty-
three plates, in addition, of course, to the one
hundred and fifty-seven which stood to his credit
as the fruits of a land-agent’s scanty leisure, and in
addition to the charming water-colours with which
this is not the right place to deal. It is impossible
in the short space of an article like this to criticise so
many plates, even in the most general way. It must
suffice to say that he travelled much, worked with
untiring patience, and produced beautiful work.
The Wheelwright's Shed is one of the best of his
compositions, and, besides the Spanish set, some
of the Italian plates will be remembered by all who
have seen them. The Rothenburg series, also,
shows the practised hand and eye, and many others
occur to me which cannot be mentioned in detail.
One more point seems to me remarkable. Synge
not only improved in style and execution as time
went on, but by sheer force of will and hard work
he constantly turned a doubtful plate into a good
one. He never despaired. The true note of his
life was a courageous hopefulness, based upon a
truly heroic patience in most trying conditions.
“EDINBURGH FROM. SALISBURY CRAGS”
BY E. M. SYNGE
Edinburgh from Salisbury Crags, is well contrasted
by its airy simplicity with the more pictorial In the
Cotswold Country, and these and the Poplars (un-
finished), diverse as they are, seem equally good
examples of Synge’s work.
It is worthy of note that, at great expense of
time and labour, he acquired the art of printing,
and for years printed all his own proofs. His
printing was really characteristic of his thoroughness
and determination, and also of the sober, restrained
aim of his work. What is called the theatrical in
biting or printing did not tempt him, and one likes
to remember that, even when he was busy, he
could spare half a day to print for a friend. So far
as I recollect, it was Charles Welch who taught him
some of the mysteries of the craft, and he is, I sup-
pose, the most successful printer in the world.
Though it has nothing to do with the intrinsic
merits of his plates, which must eventually be judged
by themselves alone, it is interesting as we look at
them to reflect that a man who never had good
health etched no fewer than two hundred and twenty-
three plates, in addition, of course, to the one
hundred and fifty-seven which stood to his credit
as the fruits of a land-agent’s scanty leisure, and in
addition to the charming water-colours with which
this is not the right place to deal. It is impossible
in the short space of an article like this to criticise so
many plates, even in the most general way. It must
suffice to say that he travelled much, worked with
untiring patience, and produced beautiful work.
The Wheelwright's Shed is one of the best of his
compositions, and, besides the Spanish set, some
of the Italian plates will be remembered by all who
have seen them. The Rothenburg series, also,
shows the practised hand and eye, and many others
occur to me which cannot be mentioned in detail.
One more point seems to me remarkable. Synge
not only improved in style and execution as time
went on, but by sheer force of will and hard work
he constantly turned a doubtful plate into a good
one. He never despaired. The true note of his
life was a courageous hopefulness, based upon a
truly heroic patience in most trying conditions.
“EDINBURGH FROM. SALISBURY CRAGS”
BY E. M. SYNGE