DOI Heft:
No. 289 (April 1917)
DOI Artikel:Salaman, Malcolm C.: The art of the colour-print
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.24576#0121
The Art of the Cotour-print
“ SEARCHLIGHTS, TRAFALGAR SQUARE ” FROM A WOOD-BLOCK COLOUR-PRINT BY E. A. VERPILLEUX
(Messrs. Colnaghi <$- Obach)
the once popular, but long disused, stipple-
method ; while no effects were compassed by
the charming pastel-manner inspired by Boucher
and invented by Bonnet, which are not within
the simpler resources of lithography. But
eighteenth-century French aquatint holds its
own with us to-day, with its multi-plate print-
ings and the aid of soft-ground etching for the
key-design, and only in the matter of greater
exactness of register, and the choice between
dust-ground and the more luminous spirit-
ground, can it be said that we have “ bettered
the instruction.”
This is the method used by Mr. Theodore
Roussel, an artist of exquisite refinement and
individuality, who has been for many years
experimenting in colour-printing from metal
plates, and has brought to this much sensitive
artistry and originality of resource. His beau-
tiful and poetic Moonrise in the New Forest,
and the splendidly decorative L’Agonie des
Fleurs, would seem to prove his belief that
the colour-engraver, if he be an artist, can
command the whole gamut of tones possible to
the painter.
Lieut. W. Lee Hankey, a painter and etcher
with a temperament for experiment, has devoted
much industry and skill to the craft of the
colour-print. His colour-schemes are invariably
of a satisfying simplicity, four or five plates
usually serving his purpose, his more recent
plates, such as Warwick’s Land, showing in-
creased refinement of technique and purity of
tone. Mr. Alfred Hartley, a very sensitive
artist, of distinguished accomplishment in black-
and-white aquatint, has also expressed his
pictorial poetry with subtle charm through the
colour-tones of the dust-ground plates. No
living artist has worked more loyally for the
plate of many colours than Mr. Nelson Dawson,
whose pictorial vitality may be seen in a number
of spirited prints, mostly full of the sense of
the sea and those who go down to her in ships.
Mrs. Nelson Dawson, so frequently associated
hi
“ SEARCHLIGHTS, TRAFALGAR SQUARE ” FROM A WOOD-BLOCK COLOUR-PRINT BY E. A. VERPILLEUX
(Messrs. Colnaghi <$- Obach)
the once popular, but long disused, stipple-
method ; while no effects were compassed by
the charming pastel-manner inspired by Boucher
and invented by Bonnet, which are not within
the simpler resources of lithography. But
eighteenth-century French aquatint holds its
own with us to-day, with its multi-plate print-
ings and the aid of soft-ground etching for the
key-design, and only in the matter of greater
exactness of register, and the choice between
dust-ground and the more luminous spirit-
ground, can it be said that we have “ bettered
the instruction.”
This is the method used by Mr. Theodore
Roussel, an artist of exquisite refinement and
individuality, who has been for many years
experimenting in colour-printing from metal
plates, and has brought to this much sensitive
artistry and originality of resource. His beau-
tiful and poetic Moonrise in the New Forest,
and the splendidly decorative L’Agonie des
Fleurs, would seem to prove his belief that
the colour-engraver, if he be an artist, can
command the whole gamut of tones possible to
the painter.
Lieut. W. Lee Hankey, a painter and etcher
with a temperament for experiment, has devoted
much industry and skill to the craft of the
colour-print. His colour-schemes are invariably
of a satisfying simplicity, four or five plates
usually serving his purpose, his more recent
plates, such as Warwick’s Land, showing in-
creased refinement of technique and purity of
tone. Mr. Alfred Hartley, a very sensitive
artist, of distinguished accomplishment in black-
and-white aquatint, has also expressed his
pictorial poetry with subtle charm through the
colour-tones of the dust-ground plates. No
living artist has worked more loyally for the
plate of many colours than Mr. Nelson Dawson,
whose pictorial vitality may be seen in a number
of spirited prints, mostly full of the sense of
the sea and those who go down to her in ships.
Mrs. Nelson Dawson, so frequently associated
hi