It may be hard to fathom today, but once upon a time prints were monochromatic. When the first generation of Western printmakers challenged themselves to create etchings, lithographs, and woodcuts in color, their efforts were at first viewed with disdain by many. Japanese woodcuts, which had been printed in color for hundreds of years by then, showed artists the way. This revolution was particularly hard-fought for intaglio: etching, aquatint, drypoint, and assorted copper-plate techniques. Etching was regarded mostly as a “graphic” art, from the ancient Greek, γράφειν: to write. The expectation was that the graphic artist was to render his vision in line or grayscale only. Color was for painting. Yet many printmakers forged ahead, threw caution to the wind, pushed the envelope. This selection is an ode to those works of art: painterly etchings.
En Bretagne, Eaux-Fortes et Lithographies par Maufra (original French title) Color etching & aquatint on wove paper, 1894.Refs: BN-IFF 11.2; Ca...
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Color aquatint and drypoint on simili-Japan wove paper, 1913.No stated edition, but likely one of just a handful of impressions. All prints by this...
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Le Grand-Prix de Paris (original French title) Color etching, aquatint, and drypoint printed on simili-japon paper, 1906.Ref: Delteil 74.Edition of...
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Embarcadère sur la Garonne, Bordeaux (original French title) Etching and aquatint printed in four colors on laid paper.Reference: Lotz-Brissonneau ...
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Les Visites (original French title) Color aquatint and etching on wove paper.Ref: Bibliothèque Nationale – Inventaire du Fonds Français 2-6.State p...
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Sur le Chemin (original French title) Color etching printed on laid paper.Reference: Delteil 39.Edition of 50 in the fourth and final state. Scarce...
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La Patineuse (original French title) Color aquatint and soft-ground etching printed in color on thick wove paper. References: neither in the BN-IFF...
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