tag:blogger.com,1999:blog-3406345541998832172024-03-13T06:12:34.187+00:00Adventures in the Print TradeShare my excitement and my discoveries as I delve ever deeper into the world of prints and printmakersNeilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.comBlogger242125tag:blogger.com,1999:blog-340634554199883217.post-34813765405252135662019-06-20T15:36:00.000+01:002019-06-20T15:36:20.624+01:00The Pre-Impressionists: Camille CorotJean-Baptiste Camille Corot was born in Paris in 1796; he died in Paris in 1875, the year after the First Impressionist Exhibition. The freedom and sensitivity with which he responded to the changing moods of landscape put him at the forefront of the plein-air artists of the Barbizon School, and make him perhaps the most important precursor of Impressionism. Corot's leaves dance in the canvas before your eyes, caught in an ever-changing light. The clearest path from Corot to Impressionism can be seen in the work of Camille Pissarro. Pissarro listed himself as Corot's pupil in the catalogues to the Paris Salons of 1864 and 1865. One of the four radical young artists who teamed up at the Académie Suisse in 1859 - Pissarro, Claude Monet, Armand Guillaumin, Paul Cézanne - Camille Pissarro was the only artist to participate in all eight Impressionist exhibitions in Paris. Just as Corot had been free with his help, advice, and encouragement to the young Pissarro, and to Eugène Boudin, Berthe Morisot, and Alfred Sisley, so Pissarro was happy to pass on his experience to the Post-Impressionists such as Seurat, Gauguin, and van Gogh. So the influence of Corot can be strongly felt not just in his contemporaries at Barbizon, but right through Impressionism and Post-Impressionism.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbLQt-FP-eVLLJpU0X13Ix1g-IJBAK1UIXwum6kJTk7fpvQm_sCQSXOqHcMlwsDR8sasF_WD8LZ9ieQE4gQIw2i1wUXIJxMtvEh1StyGYLeC4mM0xUS23vbMsXqaMwtqvPOvpaY0_6UKbr/s1600/Bracquemond+-+Corot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbLQt-FP-eVLLJpU0X13Ix1g-IJBAK1UIXwum6kJTk7fpvQm_sCQSXOqHcMlwsDR8sasF_WD8LZ9ieQE4gQIw2i1wUXIJxMtvEh1StyGYLeC4mM0xUS23vbMsXqaMwtqvPOvpaY0_6UKbr/s320/Bracquemond+-+Corot.jpg" width="296" /></a></div>
Félix Bracquemond, Corot<br />
Etching, 1861<br />
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Corot's own training was rooted in Neoclassicism. The aesthetic of his teachers Achille Etna Michallon and Jean-Victor Bertin links Corot to artists such as David and Ingres, Lorrain and Poussin, and explains the nymphs that tend to pop up in otherwise realistic landscapes by Corot, especially in his earlier phases. It was his discovery of the English landscapists J.M.W. Turner and John Constable that freed Corot from the tired formalities of Neoclassicism. Turner and Constable inspired both the Barbizon artists and the Impressionists - just not their own countrymen.<br />
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Camille Corot, Souvenir de Toscane<br />
Etching, 1845<br />
Delteil 1 (iv/iv), Melot 1 (iv/iv)<br />
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Besides his oil paintings and drawings, Camille Corot was also a printmaker, and in his printmaking practice he very nearly approaches Impressionism. He created 14 stunning etchings, of which I have a copy of the first, Souvenir de Toscane, dating from 1845. The magnificent freedom, the wildness, of this Italian landscape puts the viewer right on the spot, feeling the wind on your face. 1845 was the year Corot was hailed by Charles Baudelaire as the leader of "the modern school of landscape painting." This proto-Impressionist memory of Tuscany was the first etching Corot ever made. Twenty years later Félix Bracquemond found the unbitten plate in a box of nails, and convinced Corot to rework and print it. The first proofs were pulled in 1865, but it was not editioned until 1875.<br />
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Camille Corot, Souvenir de Basse-Bréau<br />
Cliché-verre, 1858<br />
Delteil 73 (i/i), Melot 73 (i/i)<br />
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Corot also gleefully experimented with a new technique, the cliché-verre, invented by his friend Constant Dutilleux, Dutilleux's son-in-law Charles Desavary, the drawing professor Louis Grandguillaume, and Adalbert Cuvelier, an industrialist and paint manufacturer. By this means a drawing made on a prepared glass plate could be printed onto light-sensitive paper, very much in the manner of the "photogram" technique later invented by Max Ernst and Man Ray. Corot made 66 clichés-verre, and encouraged other Barbizon artists such as Daubigny, Millet, and Rousseau to try the technique too. He liked the freedom it gave to make images direct from nature that could then be printed back in the studio. Corot typically made only one or two prints from each cliché-verre, but many of the original plates survived in the collection of Eugène Cuvelier, and in 1921 Maurice le Garrec (successor of the gallerist Emond Sagot) published 15 of them in an edition of 150 copies in the portfolio <i>Quarante clichés-verre</i>. This also contained 16 plates by Charles-François Daubigny, 2 by Jean-François Millet, 2 by Théodore Rousseau, and 1 by Eugène Delacroix. One of Corot's plates has five subjects on one plate, hence there were really 36 rather than 40 clichés-verre in total. I am lucky to have acquired one of the Corots, Souvenir de Basse-Bréau, made in 1858.<br />
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<ol><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHeRW5DQsmP7G3IfKkSo6_bOUyxSRfOJ4bUiZiax3nFR6CNM2O2AgX1yIQUeetu3mD2yh2TdReApW89Y84kV724BnTFZGQZx2m336IOhSn8xmKmgIw6VEYsnlneeUzRNbeHyRk7SJf_5mV/s1600/Corot+-+Sickert+-+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1228" data-original-width="1600" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHeRW5DQsmP7G3IfKkSo6_bOUyxSRfOJ4bUiZiax3nFR6CNM2O2AgX1yIQUeetu3mD2yh2TdReApW89Y84kV724BnTFZGQZx2m336IOhSn8xmKmgIw6VEYsnlneeUzRNbeHyRk7SJf_5mV/s320/Corot+-+Sickert+-+1.jpg" width="320" /></a></ol>
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Walter Sickert, The Boatman<br />
Etching and aquatint after Camille Corot, 1890<br />
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Besides these original prints, Corot was happy for his work to be interpreted by other etchers. Some of those who made interpretative etchings after Corot are significant artists in their own right, such as Walter Sickert, Henri Guérard, Marcel Roux, and Félix Bracquemond. On a quick count, I have 19th-century etchings after Camille Corot by at least 30 artists, showing just how popular Corot's art became.<br />
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Étienne Gabriel Bocourt, Camille Corot<br />
Etching, 1882<br />
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Camille Corot himself seems to have been an equally popular figure. Often known affectionately as Père Corot, he was a hugely generous and encouraging man, confident in his own art but quite humble and modest in his attitude to it. I like his response to a friend who questioned him on his views on the afterlife. "Well, at any rate," Corot said, "I hope we shall go on painting up there."Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com0tag:blogger.com,1999:blog-340634554199883217.post-44235259366420024322019-06-20T15:31:00.001+01:002019-06-20T15:31:50.255+01:00The Pre-Impressionists: Charles Jacque and Léon JacqueHello everyone. I'm not intending to revive this blog, as I simply don't have the time, but I have found a few posts that are so nearly complete that it seems a shame not to post them. So here's an addition to the posts I made about Barbizon artists quite a while back.<br />
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The Jacque brothers, Charles Émile and Léon, are minor figures in the Barbizon School compared to Corot, Millet, Rousseau, and Daubigny, but their art has an honesty and charm that still keeps it alive today. Charles Émile Jacque was born in Paris in 1813, and died there in 1894. The younger brother Léon Jacque was born in 1828, and surprisingly his date of death appears to be unknown. I haven't come across any work by Léon Jacque after 1872, so I would hazard a guess at a death in the early 1870s. The whole Jacque family seem to have been artistically gifted; there are also Charles Jacque's sons Émile, Frédéric, and Maurice, and a Marcel Jacque who seems to be some kind of relation.<br />
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Léopold Massard, Charles Émile Jacque</div>
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Etching, 1884</div>
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Charles Émile Jacque was born and died in Paris. Charles was apprenticed to an engraver of maps at the age of 17; wishing to become an artist, he made his first original etching at this period, a head of a woman after Rembrandt. Unable to support himself as an artist, Charles Jacque then joined the army for a period of seven years, taking part in the siege of Anvers. During this time Jacque continued making drawings, which he sold for a franc apiece. After a further two years as a wood engraver in England, Charles Jacque returned to France, and established himself in Paris.<br />
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Charles Jacque, L'escalier</div>
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Etching, 1845</div>
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Charles Jacque, Les Gaudes</div>
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Relief etching (procédé Comte), 1852</div>
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Charles Jacque, A Cottage</div>
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Etching, 1865</div>
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Charles Jacque, La fenêtre de l'auberge</div>
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Etching after Adraen van Ostade, 1845</div>
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Charles Jacque</div>
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Etching after Meindert Hobbema</div>
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William Brassey Hole, Le retour du troupeau</div>
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Etching after Charles Émile Jacque, 1888</div>
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Charles Jacque made his Salon debut with etchings in 1845. Jacque became a prominent member of the group of plein-air landscape painters known as the Barbizon School. He was particularly close to Théodore Rousseau, and influenced by Millet, who was his neighbour at Barbizon for many years.<br />
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Léon Jacque, L'étable</div>
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Etching, 1864</div>
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Léon Jacque, Environ de Fontainebleau</div>
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Etching, 1864</div>
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<img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0rT3aUKD5q4ul-4mxyCu7U3lAsjZwa7G4QokXoSXpXIP7pc7FGEGFK9ztdRyDb3ExGWWImrq6sLlHt-IupFlpfPX9USpRll3H0RaiaqImRz3jSLN665ozxWkFXDf4zADbyAsu_aLySi2X/s1600/64-15+Bouchardon.jpg" width="250" /></div>
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Léon Jacque, Pensée amoureuse (femme de profil cousant)</div>
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Etching after Edmé Bouchardon, 1864</div>
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Léon Jacque exhibited at the Salon de Paris for only a brief period, from 1864-1866, and contributed original etchings to the revue L'Artiste between 1863 and 1872. His brief career seems to have been lived very much in his older brother's shadow, yet Léon Jacque was a very accomplished artist in his own right. I wish I knew more about him.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy4yPKvSwWu-b3B8pU9uvonaDCTb-m5NnSsryX0911W6loYy0HyRbg46K1A0BAJuh3G25co2rIfNl4YFpQTYwxIsJ4Yb4JNMsHG7gqt1ZRkJmzEh4MC36Tsyar7GuBwdW941YFxGqNyXZM/s1600/Marcel+Jacque%253AMillet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy4yPKvSwWu-b3B8pU9uvonaDCTb-m5NnSsryX0911W6loYy0HyRbg46K1A0BAJuh3G25co2rIfNl4YFpQTYwxIsJ4Yb4JNMsHG7gqt1ZRkJmzEh4MC36Tsyar7GuBwdW941YFxGqNyXZM/s1600/Marcel+Jacque%253AMillet.jpg" width="242" /></a></div>
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Marcel Jacque, La bouillie</div>
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Etching after Jean-François Millet, date unknown</div>
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I would guess the etching above, made by Marcel Jacque in facsimile of the original 1861 etching by Millet, dates from around the mid-1890s, when Eugène Delâtre commissioned various artists to create loving facsimiles of Millet's etchings, the original plates being no longer available. I'll reproduce more of these when I get round to Millet in this series of posts on the Pre-Impressionists.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com0tag:blogger.com,1999:blog-340634554199883217.post-56336008417968768982018-01-21T16:47:00.000+00:002018-01-28T12:38:02.171+00:00Jacob Balgley: a forgotten contemporary of Chagall<div class="separator" style="clear: both; text-align: center;">
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Jacob Balgley, Rue à Jérusalem</div>
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How many of us have ever heard of Jacob Balgley, a direct contemporary of Marc Chagall? Not me, until I acquired a copy of Portrait de Jacob Balgley, written by his friend Claude Roger-Marx, and containing nine original etchings and four original drypoints. It was published in 1959, 25 years after the artist's death. The etchings and drypoints were printed on Vidalon wove paper by J.-J.-J. Rigal on the handpress of Mme Daragnès, and the book forms part of a series of hommages to various artists published by Manuel Bruker, variously with the title Portrait de, Éloge de, Visite à, or Tombeau de So-and-so. Each was published in an edition of 200 copies, the first 20 usually with an additional suite of the prints in the book. In the case of Portrait de Jacob Balgley, all of the books also had 9 additional prints loosely inserted at the back, four wonderful etchings and five rather pedestrian drypoints. Balgley seems to be a very interesting instance of a talented artist who has been forgotten both because of the vagaries of fortune but also because he simply wasn't interested in worldly success. You would think from the etching above, Rue à Jérusalem, that Balgley, like Chagall, loved life and its sensual pleasures, but actually he seems to have been a morose and austere character. The joyous dancing and music in this etching probably reflect his delight at achieving his lifetime dream of visiting Jerusalem; it's an image full of movement and life, and I'm sorry that it is slightly too large for my scanner, so has been a bit clipped at the sides.</div>
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Jacob Balgley, Musiciens</div>
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The painter and printmaker Jacob Balgley was born in Brest-Litovsk (now Brest), in Belarus, in 1891. Balgley's father was a rabbi, and he was brought up as an Orthodox Jew. Like Chagall, his almost direct contemporary, Balgley often took inspiration from the Bible. After studying in a yeshiva, Balgley began painting icons, his first artistic practice. </div>
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Jacob Balgley, À la fontaine</div>
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After briefly studying medicine in St Petersburg and architecture in Odessa, Balgley moved to Paris in 1911 to continue his architectural studies at the École des Beaux-Arts, and settled in the artistic quarter of Montparnasse, where he rubbed shoulders with Chagall, Soutine, and Modigliani. But Balgley was never part of any group and had no interest in the ambitions and rivalries of his fellow-artists, whom he apparently referred to as "microbes". </div>
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Jacob Balgley, Lecture de la Bible</div>
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Etching (double page with central fold)</div>
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In his Portrait de Jacob Balgley, Claude Roger-Marx says that Balgley "lived in a dream", was only interested in the interior world, and only aspired to the eternal. He had the demeanour of a suffering prophet.</div>
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Jacob Balgley, Cabbaliste en prière</div>
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As an artist, Jacob Balgley was essentially self-taught. In etching, he took Rembrandt and Dürer as his models. He had his own printing press, and from 1918 printed and published a series of print portfolios: Seize eaux-fortes, Anciennes et Nouvelles Prédictions, La Guerre et la Paix, Premiers essais pour sept études, Études inachevées, and Sept paysages.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL-Z4RSvJvG3n18WSTpMnjurXRfER_yXuc_uk6wqLRPp59CCZAMqwj1Wu70MRw7zQt9kye2DmpbxRX7hz9y8eXW3No22sQCj_0wMxPtbQMKrtHsM9tjJff790NIifkRZj2LUoz61TALgVo/s1600/Balgley+-+1+%25285%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="783" data-original-width="1000" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL-Z4RSvJvG3n18WSTpMnjurXRfER_yXuc_uk6wqLRPp59CCZAMqwj1Wu70MRw7zQt9kye2DmpbxRX7hz9y8eXW3No22sQCj_0wMxPtbQMKrtHsM9tjJff790NIifkRZj2LUoz61TALgVo/s320/Balgley+-+1+%25285%2529.jpg" width="320" /></a></div>
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Jacob Balgley, Famille en lecture</div>
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In 1920, Jacob Balgley met his future wife, Alice Kerfers, a student at the École des Arts Décoratifs, and she introduced him to the austere spiritual beauties of her native Brittany. In 1924 he took French nationality. He had his first and only solo exhibition in the same year, and although Roger-Marx says he never involved himself in the Salons, Bénézit lists him as having exhibited at the Salon d'Automne. </div>
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Jacob Balgley, Untitled (Fishermen)</div>
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In 1925, Balgley and Kerfers travelled to Italy, Syria, and Palestine, a long-held dream curtailed by a nervous breakdown.<br />
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Jacob Balgley, Untitled (Rider)</div>
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Jacob Balgley seems to have had a very difficult and morose character, living an ascetic life in extreme poverty, "living like a fugitive, proud of his misfortune". </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjahZf-KvR4dmlNJ9pQSrHoz6IHiVhOOcndsTSt9HmJHbWyK0bOi5f_av-lo6s8wf0aoIRNhac6xMMiRj1bepyQU2Hsdqncd-YawniR1xbt47lzT1KQ561hEmJC3JrGTAeftSYd-v3UR4J7/s1600/Balgley+-+1+%25288%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1304" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjahZf-KvR4dmlNJ9pQSrHoz6IHiVhOOcndsTSt9HmJHbWyK0bOi5f_av-lo6s8wf0aoIRNhac6xMMiRj1bepyQU2Hsdqncd-YawniR1xbt47lzT1KQ561hEmJC3JrGTAeftSYd-v3UR4J7/s320/Balgley+-+1+%25288%2529.jpg" width="245" /></a></div>
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Jacob Balgley, Untitled (Bicyclist)</div>
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The promising career of Jacob Balgley was cut short when he died in Paris in 1934 at the age of 43, from a heart attack (although he volunteered to enlist in 1914, he was rejected because of already apparent heart problems). </div>
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Jacob Balgley, Untitled (Family under apple tree)</div>
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Claude Roger-Marx, who knew him well, writes in Portrait de Jacob Balgley that he died "a victim of his time, dead from having aimed too high, dead of pride and loneliness, incomprehensible to himself and to his relatives and friends."</div>
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Jacob Balgley, Untitled (Girl approaching farmhouse)</div>
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Although Jacob Balgley has been practically forgotten, unlike those "microbes" Chagall, Soutine, and Modigliani, since his death a number of retrospective exhibitions have been held of his work: in 1939 at Galerie Marcel Guiot, in 1955 at Galerie Marcel Bernheim, in 1974 at the Mairie du 1 Arrondissement, in 1982 at Cimaise de Paris, and in 1983 at the Centre Juif d'Art et de Culture.</div>
<br />Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com4tag:blogger.com,1999:blog-340634554199883217.post-6995517300624612982017-06-30T17:11:00.000+01:002017-06-30T17:11:57.578+01:00The Pre-Impressionists: Paul HuetPaul Huet was born in Paris in 1803. was a pupil of Antoine-Jean Gros and Pierre-Narcisse Guérin, and a friend and associate of Delacroix and Bonington. He was inspired like other Barbizon School artists by the art of John Constable (exhibited in Paris in 1824). While Huet's oils are sedate and conservative, his watercolours have a freshness that really sings; if he had been a Post-Impressionist rather than a Pre-Impressionist, he would no doubt have applied the vibrant colour sense shown in his watercolours to his oils. The Impressionists shunned brown and black; if Huet had done the same, his work would have been transformed. There's a good brief biography with selections of his art <a href="http://bm245.phpnet.org/006-Histoire/MuseeVirtuel/Visiteurs/Huet/Huet.htm">here</a>.<br />
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Paul Huet, Vieilles maisons sur le port de Honfleur</div>
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Etching, 1866</div>
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Alongside his paintings and watercolours, Paul Huet was also a printmaker. He published his first lithographs in 1829 and his first etchings in 1834. He died in 1869, and both my examples of his etched work date from his last years (both reprinted in 1911). The first is a charming but rather conventional scene of the harbour at Honfleur.<br />
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Paul Huet, Soirée d'été - les baigneuses</div>
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Etching, 1867</div>
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The second is something else entirely. It anticipates much of the Impressionist style in its fresh, loose approach, and its fascination with the play of light and shade. I can't help feeling Paul Cézanne must have known this etching (or the painting of the same subject displayed at the Salon of 1866), as its dreamlike scene of bathers disporting themselves in a river on a summer's evening seems to anticipate his own treatment of similar scenes.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com4tag:blogger.com,1999:blog-340634554199883217.post-30454043475981161752017-01-20T15:31:00.004+00:002017-01-20T15:31:50.325+00:00New book on Emma BormannI would like to alert my readers to a new book on the neglected Austrian Expressionist artist Emma Bormann (1887-1974), by her grandson Andreas Johns, <i>The Art of Emma Bormann</i>, published by Ariadne Press in 2016.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcc8_xnjn1AhyphenhyphenqrAjQ89Au9gK8FF9cX8xUJAabszqgbTjhwlIhmtmJN29Qe-INP0WYeAzlsdyS7O5NUzl7hgkuPhyZhNR9GDvl6Rpz4qUl-UwHzy95YPLmMBgrPOdrBcZxfhyphenhyphenyX-hcLJHL/s1600/GK+22+Bormann+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcc8_xnjn1AhyphenhyphenqrAjQ89Au9gK8FF9cX8xUJAabszqgbTjhwlIhmtmJN29Qe-INP0WYeAzlsdyS7O5NUzl7hgkuPhyZhNR9GDvl6Rpz4qUl-UwHzy95YPLmMBgrPOdrBcZxfhyphenhyphenyX-hcLJHL/s320/GK+22+Bormann+1.jpg" width="281" /></a></div>
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Emma Bormann, Universität in Groningen</div>
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Woodcut, 1922</div>
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Emma Bormann's art was vibrant, and her life too was unusual. She travelled widely in Europe and Asia, and spent the years 1939-1950 in China. Later she lived in Tokyo and in Riverside, California, where she died.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com2tag:blogger.com,1999:blog-340634554199883217.post-45904043468657394962017-01-06T11:51:00.002+00:002017-06-25T16:15:28.121+01:00The Pre-Impressionists: Charles-Francois DaubignyCharles-François Daubigny was born in Paris in 1817. One of the leading artists of the Barbizon School, Daubigny is a significant fore-runner of Impressionism. Because of the impressionistic nature of his oils, which seemed unfinished to the tastemakers of the day, his works were criticized as "rough sketches".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimYNtKZWZS1re8xumXA64HeHqIZBqTy4xe54UYbb7a7hHod6knPSei7kg2kqiFDCMNGfadtJcLfIy5bD_oX4NxDWdFbKPFeTL7ryYxa4qHinVJR5yIEo3FjsTyYMyZjtzC_Gizzv5TojLj/s1600/Artiste+1869-19+Chaplin+Daubigny.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimYNtKZWZS1re8xumXA64HeHqIZBqTy4xe54UYbb7a7hHod6knPSei7kg2kqiFDCMNGfadtJcLfIy5bD_oX4NxDWdFbKPFeTL7ryYxa4qHinVJR5yIEo3FjsTyYMyZjtzC_Gizzv5TojLj/s320/Artiste+1869-19+Chaplin+Daubigny.jpg" width="227" /></a></div>
Charles Chaplin, Daubigny<br />
Etching, 1862<br />
Béraldi 3<br />
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Daubigny was a very active printmaker, creating 127 etchings, aquatints, and drypoints, 18 clichés-verre, and 4 lithographs. I have six of his etchings to share with you.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA0fYN3d-7KDc1up1jQ8iAf7Lpya84JPGUThZnxFq8yTqj_eLdX4yZZ8lqXfrXytFHyXNwB7Q10sJgE2BIL-SiE9KibSbW_uA-azGdttDWRYI6iWxdO2z0THR8aXXGY7h-Fnl9DgHWMdZB/s1600/Daubigny+Le+Marais.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA0fYN3d-7KDc1up1jQ8iAf7Lpya84JPGUThZnxFq8yTqj_eLdX4yZZ8lqXfrXytFHyXNwB7Q10sJgE2BIL-SiE9KibSbW_uA-azGdttDWRYI6iWxdO2z0THR8aXXGY7h-Fnl9DgHWMdZB/s320/Daubigny+Le+Marais.jpg" width="320" /></a></div>
Charles-François Daubigny, Le marais<br />
Etching, 1851<br />
Delteil/Melot 84<br />
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The earliest etching I have by Daubigny is Le marais, dating from 1851 though my copy is from the 1874 printing for the Gazette des Beaux-Arts. Although this is already no. 84 in the catalogue raisonné of Daubigny's etchings, it is actually right at the beginning of his true career as an original etcher, many of the earlier works being illustrative plates of little significance. I like the storks standing placidly in the marsh water, the twisted trees, and the skein of wild ducks in the sky. Incidentally, Michel Melot, in his Graphic Works of the Pre-Impressionists, gives the print-run of the Gazette des Beaux-Arts impression as 750 copies. I've often seen this figure given for the GBA, but I can't quite bring myself to accept it; I always give c.1500 copies as the print-run for the Gazette, which I think is probably more than were actually published, but 750 seems very low. However Melot was curator of the Département des Estampes at the Bibliothèque Nationale, so should know better than me.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid1xwm0CJZYWWxwbfa265HBoUxTuOin2_8xgII9m4QvysNa9GyzrH015X3LFAn2odtroXQYH7LoKO2C6MuOeeRuSq8IsS5oCVT05HiE4RJSqIXQCeyNhGHJ49NrlJjjMm09hw1_4DmAqo1/s1600/Daubigny+Soleil+Couchant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid1xwm0CJZYWWxwbfa265HBoUxTuOin2_8xgII9m4QvysNa9GyzrH015X3LFAn2odtroXQYH7LoKO2C6MuOeeRuSq8IsS5oCVT05HiE4RJSqIXQCeyNhGHJ49NrlJjjMm09hw1_4DmAqo1/s320/Daubigny+Soleil+Couchant.jpg" width="320" /></a></div>
Charles-François Daubigny, Soleil couchant<br />
Etching, 1859<br />
Delteil/Melot 92<br />
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Soleil couchant dates from 8 years later, during which time Daubigny has only added eight etchings to his tally, but in which his art has developed a looser feel, and a more pronounced concern with light effects.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuKE_98iV84-T67fep2KchsMwMvAhSZBcxf31U8ZrbXYLGanbtJTirX2q9MpUck1NgZgM83RPCCL3r9yhZTscnLlDgItiB_h1kj47Mj5iN-ZwGY0aYhBXg2cOz1OEdHzmPUKaCrU2X6QM1/s1600/Byblis+23+Daubigny.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuKE_98iV84-T67fep2KchsMwMvAhSZBcxf31U8ZrbXYLGanbtJTirX2q9MpUck1NgZgM83RPCCL3r9yhZTscnLlDgItiB_h1kj47Mj5iN-ZwGY0aYhBXg2cOz1OEdHzmPUKaCrU2X6QM1/s320/Byblis+23+Daubigny.jpg" width="320" /></a></div>
Charles-François Daubigny, Les vendanges<br />
Etching, 1865<br />
Delteil/Melot 117<br />
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Les vendanges, from 1865, is a charming rural scene, with peasants crushing grapes in large vats, while cows rest placidly beside them, at the edge of the vineyard. My copy was reprinted from the original plate in 1923 for the art revue Byblis by the Chalcographie du Louvre; this was one of 27 copper plates donated to the Louvre by the artist's family.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwvuRiEZtOUhCgWNIPJNCDZeCvmQ0c60hgbMHUhS8uZ61Q7-E9Vcyx7g1P8uQnY6P8Gf_tFX3ZH9efNbeYFdayDnf_T5bWHfj5rOqfJKYLdeBeQQuxxbq3spjaov7KxSJobfyOtuimR_3b/s1600/Daubigny+-+Le+pre+des+graves+a+Villerville.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwvuRiEZtOUhCgWNIPJNCDZeCvmQ0c60hgbMHUhS8uZ61Q7-E9Vcyx7g1P8uQnY6P8Gf_tFX3ZH9efNbeYFdayDnf_T5bWHfj5rOqfJKYLdeBeQQuxxbq3spjaov7KxSJobfyOtuimR_3b/s320/Daubigny+-+Le+pre+des+graves+a+Villerville.jpg" width="320" /></a></div>
Charles-François Daubigny, Le pré des graves à Villerville<br />
Etching, 1875<br />
Delteil/Melot 124<br />
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Charles-François Daubigny, Pommiers à Auvers<br />
Etching, 1877<br />
Delteil/Melot 126<br />
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Charles-François Daubigny, Claire de lune à Valmondois<br />
Etching, 1877<br />
Delteil/Melot 127<br />
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These last three etchings show a big shift from the pleasant but rather conventional aesthetic of Les vendanges. They show, in fact, Charles-François Daubigny, the Pre-Impressionist. All three of them were created shortly after the First Impressionist Exhibition of 1874. It's not very likely that Daubigny was directly influenced by that exhibition, but he was a great supporter of the radical new work of the Impressionists. He resigned as a member of the jury of the Salon de Paris in 1865 when works by Cézanne and Pissarro were rejected, and resigned again in 1870 when Monet was rejected; it was Daubigny's suggestion that the spurned artists set up their own Salon de Réfusées. Daubigny was on friendly terms with Pissarro and Monet - Monet even copied Daubigny's idea of creating a makeshift painting studio on a boat. The three etchings above are three of the last four Daubigny ever made, right at the end of his life, and they show him leaping into the impressionist unknown. All were made for L'Illustration Nouvelle, published by Maison Cadart (by then run by Alfred Cadart's widow, Célonie-Sophie). Michel Melot calls the penultimate print, Pommiers à Auvers, "the most 'Impressionist' of Daubigny's etchings, done at a time when Pissarro had already begun to engrave". But I personally think that Claire de lune à Valmondois (Moonlight at Valmondois), the very last etching of Daubigny, is the most perfectly Impressionist, in its obsession with light, the Monet haystacks, the whole feel of a fleeting moment captured forever. According to Alfred de Lostalot, writing in the Gazette des Beaux-Arts, which also published this etching to mark Daubigny's passing, the plate was drawn two months before the artist's death. "He wished to burnish it, that is, tone down the haystacks and the tree-covered mountainsides that bound the horizon: death did not leave him time to do so." So maybe the illusion of Impressionism is simply the result of infirmity preventing Daubigny giving the plate a more "finished" feel. But I suspect not. He may have wondered about toning it down, but he didn't do so, probably because inside himself he knew it was as finished as it needed to be.<br />
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Léopold Massard, Charles Daubigny<br />
Etching, 1882<br />
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Charles-François Daubigny died in Paris in 1878.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com1tag:blogger.com,1999:blog-340634554199883217.post-48578849512223297452017-01-04T15:45:00.000+00:002017-01-04T17:04:47.695+00:00Entartete Kunst: Degenerate ArtStarting from 1905 and working up to a crescendo in the 1920s, German art saw an incredible flowering of brilliance in the early decades of the last century. The art movement which encapsulates the work of many different artists and smaller aesthetic cross-currents is called German Expressionism. The formation of the Brücke artists’ group in Dresden by Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff and Fritz Bleyl in 1905 is usually seen as the starting pistol for the whole Expressionist movement. Things developed very quickly from there. Emil Nolde and Max Pechstein joined Brücke the following year, and Vassily Kandinsky and Oskar Kokoschka began working in a similar vein.<br />
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Karl Schmidt-Rottluff, Elbhafen<br />
Lithograph, 1907<br />
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Wassily Kandinsky, Orientalisches<br />
Woodcut, 1911<br />
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Wassily Kandinsky, Motif aus<br />
improvisation 25: The Garden of Love<br />
Woodcut, 1911<br />
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Oskar Kokoschka, Madchenbildnis<br />
Lithograph, 1920<br />
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Lists of the major artists of German Expressionism usually include all the artists in the last paragraph except for Bleyl, with the addition of Franz Marc, Paul Klee, August Macke, Max Beckman, Otto Dix, George Grosz, Otto Mueller and Conrad Felixmüller. But as this post will show, there were many extraordinary talents working within Expressionism. German Expressionism was also unusually welcoming to female artists, such as Gabriele Münter, Marianne Werefkin, Jacoba van Heemskerck, Maria Uhden and Käthe Kollwitz.<br />
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Conrad Felixmüller, Porträt Max John<br />
Woodcut, 1919<br />
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Conrad Felixmüller, Mein Sohn Luca<br />
Woodcut, 1919<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT_bL05XHfxUo3f3Zn_JhlbZgQ8p6EEJArxTDeZE6KZiDlVP1dBf5T35XPa50ZhUhiyJF6hE4JQfI5EytzwAkzzeIPCQ3h8ocgCG2owSotbWuUOlUpvY5Ya98IEHemM8cetmOpDJH_BbtR/s1600/Jahrbuch+-+Grosz+-+1.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT_bL05XHfxUo3f3Zn_JhlbZgQ8p6EEJArxTDeZE6KZiDlVP1dBf5T35XPa50ZhUhiyJF6hE4JQfI5EytzwAkzzeIPCQ3h8ocgCG2owSotbWuUOlUpvY5Ya98IEHemM8cetmOpDJH_BbtR/s320/Jahrbuch+-+Grosz+-+1.jpg" width="242" /></a><br />
George Grosz, Thomas Rowlandson zum Andenken<br />
Lithograph, 1921<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNg2Qx8L67nZxneTi8F7OG5fLd0NytxOmzDeWCPWg0o8SP8hHdnHJM1LyLUU_DcCktN2yuZutS7fxOSsXGyWPJahEifs3lKX9hBZRIhT8f3pDPk1u_s7diGG_G-z__ghNRAD8fFN5YrYW1/s1600/Jahrbuch+-+Campendonk+-+1.jpg" imageanchor="1"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNg2Qx8L67nZxneTi8F7OG5fLd0NytxOmzDeWCPWg0o8SP8hHdnHJM1LyLUU_DcCktN2yuZutS7fxOSsXGyWPJahEifs3lKX9hBZRIhT8f3pDPk1u_s7diGG_G-z__ghNRAD8fFN5YrYW1/s320/Jahrbuch+-+Campendonk+-+1.jpg" width="320" /></a><br />
Heinrich Campendonk. Landschaft mit Ziegen und Wildkatzen<br />
Woodcut, 1920<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiblFp5qEb3qrJOUepANMeCTYF51RQPOBotyWBpfHFgqNX6IavukW9n-LuNF_WOfOTH9MrbgsAprMkIqsTgl2xwqNfRdhUYgG32t6mOwvWPcmpcAlCtCzH3I9HXCMs_MH8urlxxXpw77gNC/s1600/Jahrbuch+-+Matare+-+1.jpg" imageanchor="1"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiblFp5qEb3qrJOUepANMeCTYF51RQPOBotyWBpfHFgqNX6IavukW9n-LuNF_WOfOTH9MrbgsAprMkIqsTgl2xwqNfRdhUYgG32t6mOwvWPcmpcAlCtCzH3I9HXCMs_MH8urlxxXpw77gNC/s320/Jahrbuch+-+Matare+-+1.jpg" width="320" /></a><br />
Ewald Mataré, Landschaft/Strasse<br />
Woodcut, 1921<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRbPNScPzbOYIAOFU5sDcJwLhfRqgmImVjo0MWgs77AcJXa3ynIK9Jgm4zJwuMCwfSBZ_Wq4fpI-XrrHwTHmGXGQMg8DUjihJv8ZszZfnctpmRNJSQZmCUPtJeVNWcuGYAOCogU7w79_hv/s1600/Jahrbuch+-+Viegener+-+1.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRbPNScPzbOYIAOFU5sDcJwLhfRqgmImVjo0MWgs77AcJXa3ynIK9Jgm4zJwuMCwfSBZ_Wq4fpI-XrrHwTHmGXGQMg8DUjihJv8ZszZfnctpmRNJSQZmCUPtJeVNWcuGYAOCogU7w79_hv/s320/Jahrbuch+-+Viegener+-+1.jpg" width="261" /></a><br />
Eberhard Viegener, Simson im Temple<br />
Woodcut, 1919<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgDd-7wIXNiprBifTXxhqbobJ3_fQSNXR-C3AO6ttJfBvhY0MFkBmHdpBW-1OlCEdsy3gdVQnSnZTrvvAU9sjrW9i13qvVZaJ9B8fVSEnxGEErF1cEmZeVXUlVIepWMn4dszqQTMLanjgK/s1600/Avermaete+-+Schrimpf+-+1.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgDd-7wIXNiprBifTXxhqbobJ3_fQSNXR-C3AO6ttJfBvhY0MFkBmHdpBW-1OlCEdsy3gdVQnSnZTrvvAU9sjrW9i13qvVZaJ9B8fVSEnxGEErF1cEmZeVXUlVIepWMn4dszqQTMLanjgK/s320/Avermaete+-+Schrimpf+-+1.jpg" width="224" /></a><br />
Georg Schrimpf, Mutter mit Kind<br />
Woodcut, 1923<br />
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Maria Uhden, Frau am Wasser<br />
Woodcut, 1918<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFu8yVeI2caKXsQ9hxoEEU_UNID7kedcPPqV7k7z1Ovume955CXh_BHSATIhDcQpY37r2rJeyfFmf_F5Cp9kAigFugQCV0kbJPk2KWh-6ynhepAUDS9tzUJqDT90ff03bYuoKpphM76Hj8/s1600/Avermaete+-+Uhden+-+1+%25281%2529.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFu8yVeI2caKXsQ9hxoEEU_UNID7kedcPPqV7k7z1Ovume955CXh_BHSATIhDcQpY37r2rJeyfFmf_F5Cp9kAigFugQCV0kbJPk2KWh-6ynhepAUDS9tzUJqDT90ff03bYuoKpphM76Hj8/s320/Avermaete+-+Uhden+-+1+%25281%2529.jpg" width="241" /></a><br />
Maria Uhden, Himmel<br />
Woodcut, 1917<br />
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Usually when a country experiences an intense flowering of radical art, there is resistance to what Robert Hughes called “the shock of the new”. In Germany, this resistance was so strong it led to the persecution of almost every artist allied to Expressionism. Under the Nazis, many were dismissed from their positions in fine art academies, banned from creating or exhibiting art, or from buying art materials, and the art museums of Germany were looted to systematically remove, and either destroy or sell, any Expressionist works. An official exhibition of Entartete Kunst, or Degenerate Art, was staged in Munich in 1937, to hold the Expressionists up to public ridicule. In the case of Erich Heckel, for instance, 700 of his works were removed from German museums, and his woodblocks and copperplates were destroyed.<br />
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Erich Heckel, Liegende (Frau)<br />
Woodcut, 1913, revised with newly-cut red forms in 1924<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYAyitpRE-DNXF2UZ0O_n21YqjKiSw3QPRWmKqNOWDhm-ptZ_GkrHtplv3pzRKFB9tD1ts7-f_M6jLRSxxBcjqVsg0SpAo99lqQSw7zQp1h6EVq_pTkM3cRzvt8sWXx6pJOGm3MiqUOAaA/s1600/Ganymed+-+Hofer+-+Tanzerin.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYAyitpRE-DNXF2UZ0O_n21YqjKiSw3QPRWmKqNOWDhm-ptZ_GkrHtplv3pzRKFB9tD1ts7-f_M6jLRSxxBcjqVsg0SpAo99lqQSw7zQp1h6EVq_pTkM3cRzvt8sWXx6pJOGm3MiqUOAaA/s320/Ganymed+-+Hofer+-+Tanzerin.jpg" width="211" /></a><br />
Karl Hofer, Tanzerin<br />
Lithograph, 1921<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzCiG2Jv1tDeQj81eWvG6MeAiedHqH8SXTIlHLn8ROJdgj0Pr6HIvInpVeUzFeYu3dnTV4xtCMy-m_3p2iBR5MiAdlDyxsW2u_MJl3VkoO_LVNgcOttEPNHUiQTJkeLCOuG5FUvkn-Jqjb/s1600/Avermaete+-+Marcks+-+1.jpg" imageanchor="1"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzCiG2Jv1tDeQj81eWvG6MeAiedHqH8SXTIlHLn8ROJdgj0Pr6HIvInpVeUzFeYu3dnTV4xtCMy-m_3p2iBR5MiAdlDyxsW2u_MJl3VkoO_LVNgcOttEPNHUiQTJkeLCOuG5FUvkn-Jqjb/s320/Avermaete+-+Marcks+-+1.jpg" width="320" /></a><br />
Gerhard Marcks, Heimweg<br />
Woodcut, 1923<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix6m4qgxE4sNm82sYVgRdCbW4GsxMmrO8KDzMTDnRpmMpHtB9_gO0Qgn8wblQnlv_xDArdPMvvVMr0m9ht2Vm8BiDX4Mcb1OZrKJZqNZlNt7W5J9ftQIKcm0javfkQwhmcZSp1Xv21fYD0/s1600/Ganymed+-+Grossman+-+Der+alter+gartner.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix6m4qgxE4sNm82sYVgRdCbW4GsxMmrO8KDzMTDnRpmMpHtB9_gO0Qgn8wblQnlv_xDArdPMvvVMr0m9ht2Vm8BiDX4Mcb1OZrKJZqNZlNt7W5J9ftQIKcm0javfkQwhmcZSp1Xv21fYD0/s320/Ganymed+-+Grossman+-+Der+alter+gartner.jpg" width="238" /></a><br />
Rudolf Grossman, Der alter Gärtner<br />
Etching, 1921<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQyk1eWr6gHeyJ0d_7qPFz0Kse4_pbErRTVgCSFTKpVGy5AVFL0fWxBr25YdIQRXwB-QHAnJPuOifEr_uk3wwY64GP4wCFwnMPZR3C3YCi3BcZps3jbyod1xtdGBdYSmLWTt7HElaYNATT/s1600/Ganymed+-+Grossmann+-+Der+Kritiker.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQyk1eWr6gHeyJ0d_7qPFz0Kse4_pbErRTVgCSFTKpVGy5AVFL0fWxBr25YdIQRXwB-QHAnJPuOifEr_uk3wwY64GP4wCFwnMPZR3C3YCi3BcZps3jbyod1xtdGBdYSmLWTt7HElaYNATT/s320/Ganymed+-+Grossmann+-+Der+Kritiker.jpg" width="234" /></a><br />
Rudolf Grossman, Der Kritiker<br />
Lithograph, 1919<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6QGZxeTRmHj3nn8upffCLm8jdzhbEhdx6udfLVc5YC4mpknQbZr_JHCiedIimEJtB4UqmSXWJlY6KFwANVFHLFPVCxomTL1OKmVTIlXg2S3Ik2tKytlMRETu4_IhDlClQBhqGhmLRhGjp/s1600/Ganymed+-+Schubert+1.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6QGZxeTRmHj3nn8upffCLm8jdzhbEhdx6udfLVc5YC4mpknQbZr_JHCiedIimEJtB4UqmSXWJlY6KFwANVFHLFPVCxomTL1OKmVTIlXg2S3Ik2tKytlMRETu4_IhDlClQBhqGhmLRhGjp/s320/Ganymed+-+Schubert+1.jpg" width="249" /></a><br />
Otto Schubert, Frühling<br />
Etching, 1920<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJjB0eLMzXyV3_k4pHzy2OLAsrTG51OLMXfu6to6OUWBDoTESioNWTyTSRMK_sV8z08ycuLGWRBPFKoI5A1aReeF_lk5mAlUWx_pKZ7AIcj93uh0sOMi_XAo6oWasJN7rN-b-3LGQ8wZrI/s1600/Meseck.jpg" imageanchor="1"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJjB0eLMzXyV3_k4pHzy2OLAsrTG51OLMXfu6to6OUWBDoTESioNWTyTSRMK_sV8z08ycuLGWRBPFKoI5A1aReeF_lk5mAlUWx_pKZ7AIcj93uh0sOMi_XAo6oWasJN7rN-b-3LGQ8wZrI/s320/Meseck.jpg" width="320" /></a><br />
Felix Meseck, Landschaft<br />
Etching, 1920s<br />
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It seems quite extraordinary now, but more than 16,500 works were removed from museums; many were destroyed, including some 4,000 paintings, drawings and prints burned in an auto-da-fé by the Berlin Fire Brigade in 1939. The most valuable were sold on the international art market through trusted dealers such as Hildebrand Gurlitt, the source of the treasure trove of 1,046 works found in the apartment of his son Cornelius Gurlitt in 2012, many of which have now passed to the Museum of Fine Arts in Bern. The name Gurlitt is entwined with the story of Expressionism and of Degenerate Art, for the Fritz Gurlitt gallery, run by Fritz’s son Wolfgang, and its associated publishing arm, the Gurlitt-Presse, was probably the most prominent promoter and publisher of Expressionist works. Wolfgang and Hildebrand Gurlitt were first cousins; both were suspect to the Nazis because of Jewish lineage and because of their association with Expressionism. Yet both profited from the exploitation of works seized either from museums or from Jewish owners by the Nazis.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8rdakJLv0rnbJVXRUOPmG99F9szpTBKFsXjVOzDo8SPVJ2Ql2nK_Wfk0HPlaPVIkoV8QAv6bILtNBWu-c2jEbJAvo9IvKKznsvi3CcAKGc3bHEbBejvA_SLUemFFlXcsKoUcO8mutZSzg/s1600/17+Corinth+1.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8rdakJLv0rnbJVXRUOPmG99F9szpTBKFsXjVOzDo8SPVJ2Ql2nK_Wfk0HPlaPVIkoV8QAv6bILtNBWu-c2jEbJAvo9IvKKznsvi3CcAKGc3bHEbBejvA_SLUemFFlXcsKoUcO8mutZSzg/s320/17+Corinth+1.jpg" width="284" /></a><br />
Lovis Corinth, Umarmung<br />
Etching, 1915<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA1akMrxXJ_MZcxEQDd1LFVSAWC6kWISnfLFghDSO66iDRMDAoVDob1QOP62g0Kh1lUhigtwhAqjfPCC30WbtW0Va2MFbV6VckVJIivvhNcfwjLKyO0RMaTGT3GF3PKWXklkrRDFAH7RGb/s1600/17+Liebermann.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA1akMrxXJ_MZcxEQDd1LFVSAWC6kWISnfLFghDSO66iDRMDAoVDob1QOP62g0Kh1lUhigtwhAqjfPCC30WbtW0Va2MFbV6VckVJIivvhNcfwjLKyO0RMaTGT3GF3PKWXklkrRDFAH7RGb/s320/17+Liebermann.jpg" width="237" /></a><br />
Max Liebermann, Selbstbildnis<br />
Etching, 1917<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIna-aNXYlZLBzoIndn6vrmYUsPcGD101EOvl7TL93eZI7hkFKElDz6j00-npiQvmO_uAE6mhIPyqWVfEjdsdGfYRfXOG0lZIalzww0CCQnxXIRmHTJHN7bJ_hx6at_bV_pUuRrZtKrwYt/s1600/Liebermann2.jpg" imageanchor="1"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIna-aNXYlZLBzoIndn6vrmYUsPcGD101EOvl7TL93eZI7hkFKElDz6j00-npiQvmO_uAE6mhIPyqWVfEjdsdGfYRfXOG0lZIalzww0CCQnxXIRmHTJHN7bJ_hx6at_bV_pUuRrZtKrwYt/s320/Liebermann2.jpg" width="320" /></a><br />
Max Liebermann, Amsterdammer Judengasse<br />
Etching, 1908<br />
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All of the artists whose work decorates this post (except Maria Uhden, who died in 1918) were persecuted by the Nazis, driven from their teaching posts, forbidden to work or exhibit, their work publicly mocked and destroyed. Although only a small proportion of the “degenerate” artists were Jewish, many suffered terrible anxiety about their fate at the hands of a state machine seemingly intent on wiping them and their art from the face of the earth. Some of the stories are beyond sad. Perhaps the most prominent German-Jewish artist in the last decades of the nineteenth and early decades of the twentieth century was Max Liebermann, the man who imported the Impressionist aesthetic into Germany. When he watched the Nazis march through the Brandenburg Gate in 1933 in celebration of their election victory, he rather memorably declared, Ich kann gar nicht soviel fressen, wie ich kotzen möchte. ("I could not possibly eat as much as I would like to throw up."). Liebermann died unheralded in 1935. In 1943 the Nazis thought it necessary to notify his 85-year-old widow Martha, who had suffered a stroke and was bedridden, of her imminent deportation to Theresienstadt concentration camp; she killed herself before the police could arrive to take her away. Another artist, Franz Heckendorf, not himself Jewish, organized a kind of “underground railway” in Berlin to help Jews to escape to Switzerland; for this he was arrested in 1943 and sentenced to ten years’ hard labour in the potash mines, the prosecution failing in their attempt to push for the death sentence.<br />
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Franz Heckendorf, Landschaft<br />
Lithograph, 1921<br />
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Michel Fingesten, Marsyas<br />
Etching, 1919<br />
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A particularly bitter twist of fate awaited the etcher and painter Michel Fingesten, an interesting artist who supplied a Surrealist strand to German Expressionism. A close friend of Oskar Kokoschka, Fingesten was a prominent artist in the 1920s, but as he was a Jew the doors closed on his career in 1933. After this he created very few large-scale prints, and concentrated on creating exlibris bookplates for private clients. In 1936 Michel Fingesten fled Nazi persecution and took up residence in Italy. This probably seemed a sensible option at the time – his mother was an Italian Jew, so he was comfortable with the language and the culture. But it proved to be a disastrous choice. Fingesten spent the years 1940-43 in Fascist internment camps, and though he was liberated from the Ferramonti-Tarsia camp by British troops on 14 September 1943, he died just weeks later on 8 October 1943 from complications of injuries sustained in an earlier bombing raid.<br />
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Michel Fingesten, Exlibris Fingesten<br />
Etching, c.1939<br />
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If Michel Fingesten's virtual erasure from art history proved the effectiveness of censorship, the revival of his reputation in recent years has proved its ineffectiveness. Starting with admirers of his ex libris (which have been the subject of a catalogue raisonné by Ernst Deeken), other aspects of Fingesten's art have been reassessed. In 1994 Norbert Nechwatal published Michel Fingesten: Das Graphische Werk. In 2008 the Robert Guttman Gallery in Prague held the exhibition The Unknown Michel Fingesten: Paintings, Prints and Ex Libris from the Ernst Deeken Collection, with an accompanying catalogue. There is also a dedicated Michel Fingesten Collection at the University of Colorado, Boulder.<br />
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Of the artists featured in this post, the following had work hung in the most famous Entartete Kunst exhibition: Ernst Barlach, Heinrich Campendonk, Lovis Corinth, Conrad Felixmüller, Rudolph Grossmann, George Grosz, Erich Heckel, Karl Hofer, Wassily Kandinsky, Paul Klee, Oskar Kokoschka, Gerhard Marcks, Ewald Mataré, Karl Schmidt-Rottluff, and Otto Schubert.<br />
<br />Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com5tag:blogger.com,1999:blog-340634554199883217.post-91849181432955051812016-01-17T13:01:00.003+00:002016-01-17T13:04:37.316+00:00A Vision of the End: Simon Segal's ApocalypseThe Book of Revelation (L'Apocalypse selon Saint Jean) is almost too rich in imagery for artistic interpretation, which hasn't stopped artists from trying! One very satisfying version is that published in 1969 by Simon Ségal. This project about the end of the world was undertaken at the end of Ségal's life. He was born into a Jewish family in Białystok, Poland (then part of the Russian Empire, so it is a moot point whether Ségal should be regarded as having Polish or Russian origin) in 1898. After WWI, Ségal emigrated to Berlin, moving to France in 1926 and becoming a naturalized French citizen in 1949.<br />
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L'Apocalypse: The Lamb</div>
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The expressionist art of Simon Ségal was influenced by that of Chaim Soutine, Georges Rouault, and Marc Chagall, and echoes of all three can be seen in Ségal's lithographs for L'Apocalypse. I very much admire these vibrantly colourful works, with their vivid depictions of St John's phantasmagorical vision of the end of the world.<br />
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L'Apocalypse: The Four Horsemen</div>
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L'Apocalypse: The Sixth Angel</div>
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L'Apocalypse: The Two Witnesses</div>
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Ségal's Apocalypse was published as a livre d'artiste by Les Bibliophiles de France in a total edition of 150 copies. There were also 30 suites, 8 on Japon paper and 22 on BFK Rives wove paper. I don't have the book, but I do have one of the suites. It consists solely of the 11 double-page lithographs, which in the book would have been folded down the middle; those in the suite are unfolded. Whether the suite originally also contained the 5 full-page lithographs and the 7 en-têtes from the book, I don't know. Usually these separate suites come in a printed folder with details of the edition, but my lithographs by Ségal are housed in a home-made envelope with just the words Onze gravures de Ségal written on it in marker pen. Luc Monod's Manuel de l'amateur de livres illustrés modernes doesn't help on this matter, and in fact adds a note of confusion, because while Monod says the books were printed on chiffon de Rives, he says the 22 suites were on Arches teinté. My lithographs are on untinted pure rag wove paper watermarked BFK Rives. They were printed by Jacques Desjobert. Interestingly, Monod notes that the book was printed over three years, "de 1966 à 1969".<br />
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L'Apocalypse: The Dragon</div>
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L'Apocalypse: Demonic Spirits</div>
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L'Apocalypse: The Whore of Babylon</div>
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As I don't have the book, I can't be absolutely certain which passages are depicted in the individual lithographs, but most of them seem fairly obvious, and are reflected in the titles I have given them. So for instance the lithograph below appears to illustrate Revelation 19: 11-16, which describes a rider on a white horse. "He is clothed in a robe dipped in blood, and his name is called The Word of God... From his mouth comes a sharp sword with which to strike down the nations."<br />
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L'Apocalypse: The Word of God</div>
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Simon Ségal held his first solo exhibition at the Billiet-Worms gallery in Paris in 1935, but his main dealer and close friend was Bruno Bassano, whom he first met in Toulon in 1926. There was a retrospective of the art of Simon Ségal in 1956 at the Musée Toulouse-Lautrec in Albi; he died in Arcachon in 1969. Since Ségal's death there have been a number of retrospectives, including at the Musée du Luxembourg in Paris in 1989, in Arcachon in 1997, at the Musée Thomas Henry in Cherbourg in 1999, and in 2010 at the Muzeum Podlaski in Białystok. There is also a good selection of the artist's work in the Musée Simon Ségal in Aups, whose standing collection was donated by Bruno Bassano. The Association des Amis de Simon Ségal was set up in 1989 to promote knowledge and understanding of this important artist's work. Simon Ségal's Autobiography was published posthumously in 1974.<br />
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L'Apocalypse: The New Jerusalem</div>
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I have another very interesting Apocalypse illustrated with wood engravings by Henry de Waroquier, about which I may post on another day. They make a fascinating contrast with Ségal's spirited lithographs.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com4tag:blogger.com,1999:blog-340634554199883217.post-13008143469699940682015-12-29T12:07:00.003+00:002015-12-29T12:07:58.704+00:00Ellsworth Kelly 1933-2015<div class="separator" style="clear: both; text-align: left;">
The death of Ellsworth Kelly on 27 December 2015 was perhaps not a surprise - he had been ill for some time with pulmonary disease - but it still comes as a real sadness. Born in Newburgh, New York, on 31 May 1933, Ellsworth Kelly studied art in Boston, and then at the Beaux-Arts, Paris, under the G.I. Bill. As painter, printmaker, draughtsman and sculptor, Kelly was one of the great masters of twentieth-century art. Ellsworth Kelly lived in France for a time, and has always been appreciated there, exhibiting with the Galerie Maeght, who published a number of his lithographs in the art revue Derrière le Miroir (DLM). The art of Ellsworth Kelly was influenced by modern avant-garde artists such as Arp, Brancusi, and his fellow-American Alexander Calder, but also by Matisse.</div>
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Flower (Hommage à Aimé et Marguerite Maeght)</div>
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Lithograph, 1982</div>
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This flower study, contributed to issue 250 of DLM, reminds us that Kelly's art was not all about hard-edge minimalism. His bold, simple plant studies recall Matisse, and were well able to hold their own in the joint exhibition Henri Matisse - Ellsworth Kelly: dessins de plantes held at the Pompidou Centre in 2002. I was lucky enough to see that show, and was bowled over by the subtlety and sureness of Kelly's line.</div>
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Green black blue</div>
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Lithograph, 1958</div>
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I first came across Ellsworth Kelly's work at the major Guggenheim retrospective of 1996, which travelled to the Tate in London. It was one of those exhibitions that completely overwhelm the senses.</div>
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Orange green</div>
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Lithograph, 1964</div>
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There are many books on Ellsworth Kelly, but I'd like to draw attention here to the most recent: the 2015 definitive monograph by Tricia Paik. Published by Phaidon, this is a truly magnificent work.</div>
<br />Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com2tag:blogger.com,1999:blog-340634554199883217.post-2238205856993272202015-05-04T10:14:00.000+01:002015-05-08T16:53:27.227+01:00The Unarticulated Cry of Light: The Art of Sonia DelaunaySonia Delaunay was born Sara Stern in 1885 in Odessa in Ukraine, into a relatively-poor Jewish family. At the age of 5 she was adopted by a wealthy uncle, Henri Terk, and renamed Sofia Terk (though she was always known as Sonia). She doesn't appear to have had much if any contact with her birth parents after this point. She grew up in St. Petersburg in wealthy, educated circles, becoming fluent in English, German, and French. In 1904 she went to Germany to study at the Karlsruhe Academy, moving two years later to Paris to study at the Académie de la Palette. Sonia's early paintings, mainly highly-coloured portraits of people in her circle, were influenced by the work of Paul Gauguin, but also by the German Expressionists of Die Brücke, and by the Fauves, who were just exploding onto the Paris art scene. She met and married the art dealer William Uhde, in what was essentially a marriage of convenience; Uhde was gay, and Sonia wanted to stay in Paris. Uhde put on her first show in 1908, but by this time Sonia had already met the love of her life, the painter Robert Delaunay. She and Uhde divorced (though they remained lifelong friends), and Sonia married Robert in 1910. Together they became one of the power couples of the Paris art world, working in a joint style of Cubist-influenced almost abstract colour-contrasts that they named Simultanism or Orphism.<br />
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Sonia Delaunay, Composition I</div>
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Pochoir from Compositions, Couleurs, Idées, c. 1930</div>
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The art of Sonia Delaunay is currently being celebrated in a wonderful exhibition at Tate Modern. This covers the full arc of her career, from those early Gauguin-inspired portraits through the Orphism years right up to her late flowering in the 1960s and 70s, after a period in which she devoted herself to curating Robert's legacy rather than to her own art. One aspect of her work that is particularly well-explored is her move into fabric design and fashion in the 1920s. This was prompted by financial need, as Sonia's income from a property in St. Petersburg vanished with the Russian Revolution, but it played to her natural strengths in manipulating pattern and colour in flowing rhythms.<br />
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Sonia Delaunay, Composition II</div>
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Pochoir from Compositions, Couleurs, Idées, c. 1930</div>
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Sonia Delaunay, Composition VII</div>
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Pochoir from Compositions, Couleurs, Idées, c. 1930</div>
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Sonia Delaunay, Composition XXVI</div>
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Pochoir from Compositions, Couleurs, Idées, c. 1930</div>
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The exhibition has many fabric designs, fabric samples, and items of clothing, showing how Sonia Delaunay embraced a kind of total art that could be applied in almost any context, from a Cubist cot quilt for her son Charles to painted bookbindings to costume designs for Diaghilev. The cot quilt is hanging in the same room as my favourite item in the show, the "premier livre simultané", the book <i>La Prose du Transsibérien et de la Petite Jehanne de France</i>. This 1913 collaboration with her close friend, the poet Blaise Cendrars, consists of a long strip of equally-balanced text and abstract pochoir illustration. Pochoir is an oddly under-explored artistic medium, despite having been used for three of the greatest artist's books of the twentieth century: by Sonia Delaunay in <i>La Prose du Transsibérien</i>, by Henri Matisse in <i>Jazz</i>, and by André Lanskoy in Cortège. Besides <i>La Prose du Transsibérien</i>, Sonia Delaunay employed the pochoir technique to great effect in a portfolio of forty plates published around 1930 under the title <i>Compositions, Couleurs, Idées</i>. This was published by Éditions d'Art Charles Moreau, and although no limitation is given, the print run was evidently very small, as it has become extremely scarce. Most of the illustrations in this post come from this source.<br />
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Sonia Delaunay, Composition XIV</div>
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Pochoir from Compositions, Couleurs, Idées, c. 1930</div>
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Sonia Delaunay, Composition XV</div>
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Pochoir from Compositions, Couleurs, Idées, c. 1930</div>
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Sonia Delaunay, Composition XX</div>
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Pochoir from Compositions, Couleurs, Idées, c. 1930</div>
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Sonia Delaunay, Composition XXXV</div>
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Pochoir from Compositions, Couleurs, Idées, c. 1930</div>
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Pochoir is a method of hand-stencilling, which became popular in France as a refined method of reproducing watercolour drawings. The products of commercial pochoir ateliers (such as those run by Saudé, Charpentier, and Renson) are often very beautiful, but they aim, as you might expect, for consistency. Sonia Delaunay appears to have applied the pochoir colours herself, and every copy of <i>La Prose du Transsibérien</i> that I have seen has been quite differently coloured. The one in the Tate exhibition, which is a deluxe copy printed on japon, is hanging next to the original watercolour design, and actually the pochoir colours are much brighter and more vivid. This exercise in synaesthesia has been a great favourite of mine since I first saw a copy in the exhibition Libri Cubisti in Siena in, I think, 1990; I can't lay my hands on the catalogue at present. I even translated Cendrars' long poem about a train journey from Moscow to Paris, purely for the pleasure of accompanying him.<br />
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Sonia Delaunay, Témoinage VI</div>
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Pochoir for Témoinages pour l'art abstrait, 1952</div>
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Sonia Delaunay, Composition with green and blue</div>
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Lithograph, 1969</div>
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Sonia Delaunay, Composition with a yellow background</div>
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Lithograph, 1972</div>
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Besides the excellent Tate catalogue, I can recommend Stanley Baron's biography, <i>Sonia Delaunay: The Life of an Artist</i>, Matteo de Leeuw-de Monti and Petra Timmer, <i>Colour Moves: Art and Fashion by Sonia Delaunay</i>, and Danielle Molinari, <i>Delaunay</i>; the latter covers the art of both Robert and Sonia.<br />
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Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com5tag:blogger.com,1999:blog-340634554199883217.post-77421972356309926272015-01-30T09:54:00.000+00:002015-01-30T09:54:40.518+00:00Two Lithuanian Modernists: Vincas Kisarauskas and Saule KisarauskieneWhen Vincas Kisarauskas and Saulė Aleškevičiūtė met while studying at the Lithuanian Art Institute in Vilnius in the late 1950s they forged a powerful personal and artistic partnership that was to introduce a Picasso-inspired Modernist aesthetic into the conservative Lithuanian art scene, which typically encouraged socialist realism or the exploration of safe ethnographic themes. The 1960s was a decade of turmoil and revolution not just in the West, but also in the Soviet bloc. In his article "<a href="http://www.lituanus.org/1995_3/95_3_02.htm">Vincas Kisarauskas' Arrow Is Still In Flight</a>", Marcelijus Martinaitis recalls how in those heady days, "Fragments of modern Western art were hunted for, art albums 'from over there' were scanned, books and articles were read."<br />
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<span style="text-align: start;">Saulė Kisarauskienė</span></div>
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One approved route into Western art circles was participation in international congresses of collectors and creators of exlibris bookplates, and both Vincas and Saulė became keen exlibris artists. All of my examples of their work represent this aspect of their art, which was celebrated in three booklets by the Danish exlibris scholar Klaus Rödel: Nogle Exlibris af Vincas Kisarauskas og lidt om Tradition eller Modernisme i Exlibriskunsten (1970), Vincas Kisarauskas: En moderne litauisk grafiker og hans exlibris (1973), and Exlibris-Portrait 12: Saule Kisarauskiene (1973). All of the exlibris I have by Saulė are etchings with aquatint; those by Vincas include etchings with aquatint, linocuts, and one relief engraving on zinc. The artistic practice of both extends way beyond this discrete area of work - Vincas in particular was a dedicated painter, and also became known as a designer for stage and screen.<br />
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I find much to admire in work of both these artists. The work of Vincas is perhaps more austere and intellectual than that of Saulė, which has a livelier sense of emotion. But they are both clearly working in the same area of interest, and playing with the interaction of shape and form in similar ways. Saulė is more concerned with the human figure than Vincas, though when he does include figures they have a wonderful wit, as in his 1970 bookplate for Inge Rödel, created on the occasion of the 13th international Exlibris congress in Budapest. I'll show Saulė's work first; her bookplates are mostly for literary and artistic figures in Lithuania, including the artist <span style="text-align: center;">Ausra Petrauskaite, the poet </span><span style="text-align: center;">Edward Puzdrowski, Saul</span>ė's sister Aldona Aleškevičiūtė, the scientific writer Jurgis Tornau, and the artist Antanas Gudaitis.<br />
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<span style="text-align: start;">Saulė Kisarauskienė, Ex libris </span>Ausra Petrauskaite</div>
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Etching with aquatint, 1970</div>
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<span style="text-align: start;">Saulė Kisarauskienė, Ex libris </span>Edward Puzdrowski</div>
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Etching with aquatint, 1969</div>
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<span style="text-align: start;">Saulė Kisarauskienė, Ex libris </span>Aldona Aleskeviciute</div>
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Etching with aquatint, 1969</div>
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<span style="text-align: start;">Saulė Kisarauskienė, Ex libris </span> Jurgis Tornau</div>
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Etching with aquatint, 1970</div>
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<span style="text-align: start;">Saulė Kisarauskienė, Ex libris </span>Antanas Gudaitis</div>
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<span style="text-align: start;">Etchng with aquatint, 1970</span></div>
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<span style="text-align: start;">Saulė Kisarauskienė, Ex libris Inge R</span>ödel</div>
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Etching with aquatint, 1970</div>
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Vincas Kisarauskas was born in 1934 in the village of Augmėnai, in the Radviliškis district. Saulė Stanislava Aleškevičiūtė was born in 1937 in Kaune. After their marriage, Saulė became Saulė Kisarauskienė, or Saulė Aleškevičiūtė-Kisarauskienė. While both pursued their art with great seriousness, it was perhaps inevitable that the duties of motherhood and the gender bias of the day would mean that it was Vincas who achieved the greater fame and acclaim, but they appear to me to have been a true lifelong artistic union, each enriching their own artistic practice by reference to the other.<br />
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Vincas Kisarauskas</div>
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The art of Vincas Kisarauskas employs a personal vocabulary of forms, which he combines and reinterprets with wit and skill. This is particularly evident I think in his linocuts, which teeter on the verge of abstraction without ever fully embracing it. What I particularly admire about these is the way Kisarauskas achieves a sense of monumentality within such small-scale works. His block-like figures have real strength and presence.<br />
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Vincas Kisarauskas, Ex libris Inge Rödel</div>
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Etching with aquatint, 1970</div>
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Vincas Kisarauskas, XIII Congres International de l'exlibris 1970</div>
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Etching with aquatint, 1970</div>
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Vincas Kisarauskas Ex libris Klaus Rödel</div>
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Etching with aquatint, 1974</div>
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Vincas Kisarauskas, Ex libris Klaus Rödel</div>
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Etching with aquatint, 1974</div>
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Vincas Kisarauskas, 15. Dail. Julijos Vysniauskienes knygy</div>
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Zinc engraving, 1967</div>
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Vincas Kisarauskas, Ex libris Mary & Alfonso (Sapnas?)</div>
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Linocut, 1971</div>
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Vincas Kisarauskas, Ex libris A. Stasiul…</div>
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Linocut, 1971</div>
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Vincas Kisarauskas, Ex libris Herber Blokland</div>
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Linocut, 1971</div>
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Vincas Kisarauskas, Ex libris Lars, Inge & Klaus Rödel</div>
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Lincocut, 1971</div>
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Vincas Kisarauskas, Ex libris Carlo Chiesa (XIV Congres International de l'Ex libris)</div>
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Linocut, 1972</div>
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Vincas Kisarauskas, Ex libris Inge Rödel (XIV Congres International de l'Ex libris)</div>
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Linocut, 1972</div>
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Vincas Kisarauskas, Ex libris Vagn Clemmensen</div>
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Linocut, 1972</div>
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Vincas Kisarauskas, Ex libris Vagn Clemmensen</div>
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Linocut, 1973</div>
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Vincas Kisarauskas, Ex libris Vagn Clemmensen</div>
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Linocut, 1973</div>
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In this sense they are rather like a Lithuanian version of Robert and Sonia Delaunay. As in the case of the Delaunays, the husband died prematurely (Robert Delaunay lived to be 56, Vincas Kisarauskas was just 54 when he died of a heart attack in New York in 1988). Saulė Kisarauskienė, like Sonia Delaunay, was left to be the standard bearer of her husband's reputation, and also to continue her own artistic journey. In 2007, after a long silence, she held a major exhibition of new work entitled Rebirth, and in 2008 there was the first monograph on her art. There's a 2013 interview with her <a href="http://www.bernardinai.lt/straipsnis/2013-02-11-saule-aleskeviciute-kisarauskiene-atsako-i-vilniaus-sv-kristoforo-gimnazijos-moksleiviu-klausimyna/95207">here</a>, in Lithuanian; if you copy this into Google Translate you will get the gist of it.<br />
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There is now an extensive collection of works by Saulė Aleškevičiūtė-Kisarauskienė and Vincas Kisarauskas in the <a href="http://ausrosmuziejus.lt/eng/">Šiauliai Aušros Museum</a>, whose website has virtual exhibitions of both <a href="http://ausrosmuziejus.lt/eng/content/view/full/7481">linocuts</a> by Vincas and <a href="http://ausrosmuziejus.lt/eng/content/view/full/6314">monoprints</a> made from carved and painted clay plates by Saulė.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com2tag:blogger.com,1999:blog-340634554199883217.post-80280073189724987312015-01-26T11:01:00.000+00:002015-01-26T11:01:31.085+00:00Social Media: Twitter and FacebookThis is just to alert my readers to the fact that I have taken the plunge into the world of social media, and set up <a href="https://twitter.com/Idburyprints">Twitter</a> and <a href="https://www.facebook.com/pages/Idbury-Prints/863360547017545?ref=profile">Facebook</a> accounts for Idbury Prints. The Twitter feed will just feature a single image with minimal information: artist, title, medium, date. The Facebook page will feature the same image but with a brief, informal text about it. I'll also try to work out how to link the Facebook page to this blog, so that the longer, more considered pieces I post here should also go there.<br />
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Ludwig Heinrich von Jungnickel, Pantherkopf</div>
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Colour woodcut, 1916</div>
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This is the first image I chose for this new project, a really stunning colour woodblock print by one of the masters of the medium. It was published in 1916 in the Vienna art revue Die Graphischen Kunste. Jungnickel made two different versions of this print - this one with the white background, and a second one with an orange background. You can compare the two in the informative post on L. H. Jungnickel at <a href="http://haji-b.blogspot.co.uk/search?q=Jungnickel">Modern Printmakers</a>.<br />
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I'm still intending to keep this blog up, and have quite a few posts in the works, but the simpler nature of Twitter and Facebook should enable me to communicate with more regularity. So if you like, please follow me on Twitter, Facebook, or even both.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com2tag:blogger.com,1999:blog-340634554199883217.post-5486004534265829852015-01-23T09:34:00.000+00:002015-01-23T09:34:54.530+00:00Winter: an etching by Louis Graf SparreThe aristocratic Swedish artist Count Pehr Louis Sparre, commonly referred to in German as Louis Graf Sparre (Graf meaning Count), was born in Gravellona Lomellina, Italy, in 1863. He was married to the Finnish artist Eva Mannerheim, and lived in Finland for nearly twenty years from 1889. Louis Sparre is regarded as one of the founders of Karelianism, alongside his close friend and colleague Akseli Gallen-Kallela. This shiveringly cold etching was created by Louis Sparre in 1904, and published in 1906 by the Gesellschaft für Vervielfältigende Kunst, Vienna, in Die Graphischen Kunste.<br />
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Louis Graf Sparre, Winter</div>
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Etching, 1904</div>
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Besides a long career as a painter and printmaker, Louis Sparre was a leading ceramicist, and directed the first Finnish feature film. If that wasn't enough, he also competed as an individual and team fencer at the 1912 summer Olympics. Louis Graf Sparre died in Stockholm in 1964, at the age of 101.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com2tag:blogger.com,1999:blog-340634554199883217.post-32675031719213928542015-01-16T15:41:00.000+00:002015-01-16T15:41:16.010+00:00War and the pity of war: Kathe KollwitzI've posted before about the German Expressionist artist Käthe Kollwitz, so I'll not rehearse all my previous thoughts again: you can read them <a href="http://adventuresintheprinttrade.blogspot.co.uk/search?q=Kollwitz">here</a>. But having acquired a new etching by Kollwitz I felt I wanted to share it with you, partly as my own inadequate response to the Charlie Hebdo massacre in Paris. Initially this picture seems to have nothing to do with war or terror: it is simply a mother caressing her baby in the cradle, the kind of image Mary Cassatt made famous.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDrcxxyASaIfz5BZuO4FpHEVl0SCPbCpjC-YWCnc-W_-VvP8eyVxaZnoy53txoTa1HnEPfo1EcjTwG0HLGDVkFaQu0qBYz8YlUn8DRQeqGQUpAl-hPwojwA_SrZ_9V9CSpfgjhDplHnpQw/s1600/03+Kollwitz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDrcxxyASaIfz5BZuO4FpHEVl0SCPbCpjC-YWCnc-W_-VvP8eyVxaZnoy53txoTa1HnEPfo1EcjTwG0HLGDVkFaQu0qBYz8YlUn8DRQeqGQUpAl-hPwojwA_SrZ_9V9CSpfgjhDplHnpQw/s1600/03+Kollwitz.jpg" height="320" width="169" /></a></div>
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Käthe Kollwitz, Frau an der Wiege</div>
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Etching, 1897</div>
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Klipstein 38 IIIc, Knesebeck 40</div>
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But look again at that mother. She is not entranced by the happy, healthy presence of her baby; she is traumatised by the anticipation of grief and loss, already holding her head in her hands. When she made this image in 1897, after the birth of her second child, Peter, how could Käthe Kollwitz have known that such sadness lay ahead? But it did. Peter was killed in action in WWI in October 1914, aged just 19. Everyone knows how much it hurts a mother to lose a child. If everyone in the world who is tempted to acts of war or terrorism could just remember, in the moment before they pull the trigger or shed the bomb, that every one of those they kill is a son or a daughter, surely they would think again?Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com8tag:blogger.com,1999:blog-340634554199883217.post-46230391895421276092014-12-30T10:57:00.000+00:002014-12-30T10:57:05.073+00:00An obscure English woodcut artist: Felix Henry EamesI offer the robust woodcut A Breton Déjeuner by F. H. Eames to my readers with all my best wishes for a happy and healthy 2015. May your tables overflow with food, wine, and the laughter of friends.<br />
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Felix Henry Eames, A Breton Déjeuner</div>
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Woodcut, 1930</div>
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I really like this highly-accomplished work, which was contributed to The London Mercury in 1930. Around this time Eames was also contributing woodcuts or wood engravings to another London literary and artistic revue, The Town Crier. So I was surprised when researching him to find almost nothing about F. H. Eames, either in standard reference books or on the internet. I did manage to expand the initials to two given names, Felix Henry. I also discovered that he was born in Matlock, Derbyshire, in 1892, and that he died in 1971. And that is about the sum total of my knowledge.<br />
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From the Breton subject-matter of A Breton Déjeuner and the Post-Impressionist aesthetic of the piece I would suspect that Felix Henry Eames was one of those artists still drawn to Pont-Aven in the 1920s and 30s, in the footsteps of Gauguin and the School of Pont-Aven of the 1880s and 90s. For instance in the 1930s the painter William Scott, his wife the sculptor and painter Mary Lucas, and their friend Geoffrey Nelson ran the Pont-Aven School of Painting there, to attract just such artistic pilgrims.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com9tag:blogger.com,1999:blog-340634554199883217.post-59966806400574727392014-12-11T10:39:00.000+00:002014-12-11T10:39:05.276+00:00A major artist in a minor field: the wood engravings of Gwen RaveratI suppose I've been aware of Gwen Raverat's wood engravings for most of my life, though without ever knowing how to pronounce her name: the final "t" is silent, so the correct pronunciation is more like Raverar. Her husband, the artist Jacques Raverat, was French, and Gwen and Jacques lived in Vence from 1920 until Jacques' early death from multiple sclerosis in 1925. It was in Provence that Gwen created what for me are her most perfect works, from a lifetime total of nearly 600 engraved woodblocks.<br />
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Frances Spalding, Gwen Ravert: Friends, Family & Affections</div>
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Cover design incorporating an oil self-portrait, c.1910-11</div>
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Gwen Raverat was born in Cambridge in 1885. Her eccentric family were part of the intellectual elite of Cambridge. Charles Darwin was her grandfather, and late in life she wrote a brilliant childhood memoir, <i>Period Piece</i>, which brings the family dramas of the Darwins to life. She would be an interesting person simply for her Darwin heritage, her close involvement in the Cambridge Neo-Pagans led by Rupert Brooke, and her tangential but intimate entwinement with the Bloomsbury Group, if she herself had never produced any original art. But she did, and it is art of such quality that Joanna Selborne in the monograph and catalogue raisonné <i>Gwen Raverat: wood engraver </i>describes her as "a major artist in a minor field".<br />
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Nightmare, or Cauchemar, or Flight</div>
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Woodcut, 1909</div>
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Gwen Raverat's work developed very quickly from her first woodcuts made while she was a student at the Slade in 1909, cut with a knife into softwood, along the grain. Even these are full of vitality, and one of the best is Nightmare, with its striking sense of existential angst and its strongly Expressionist aesthetic.<br />
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Sir Thomas Browne, state 1</div>
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Wood engraving, 1910</div>
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Within a year Gwen had moved from the woodcut to the wood engraving, made on the end grain of a boxwood block - the technique pioneered by her childhood hero, Thomas Bewick. She remained true to Bewick's small-scale perfection throughout her career, and she also shared his sly sense of humour. The frontispiece she designed for Geoffrey Keynes's Bibliography of Sir Thomas Browne in 1910 is a brilliant piece of fun, with Death guiding the hand and mind of the author of <i>Urn Burial</i>. This impression is the first state of the engraving, before the artist filled in the blank background behind the figure of death with wood panelling, and altered the anachronistic sash window. I prefer the stark authority of this first state to the slightly cluttered feel of the second, finished state.<br />
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The Dead Christ</div>
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Woodcut, 1913</div>
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The Nativity</div>
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Wood engraving, 1916</div>
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As a Darwin, Gwen was raised a freethinker, but between 1912 and 1914 she went through an intensely religious phase. She and Jacques were friends and fellow-students of Stanley Spencer, and also friends with Eric Gill. Jacques dreamed of creating a temple to be decorated by the four of them, a project that never happened, though it came to a kind of fruition in Spencer's chapel at Burghclere. The Raverats and Gill also planned to publish an illustrated Gospels, a plan which fell apart over Gill's insistence on using the Catholic Bible. However the engraving The Dead Christ, engraved by Gwen after a drawing by Jacques, gives a flavour of what such a book would have been like. The resemblance to Eric Gill's work of the period is quite striking. Gwen's tender Nativity of three years later is less graphic and more intimate; the luminous sense of the play of light in the stable gives an indication of the impressionistic course that Gwen Raverat's art would take in the following years.<br />
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The Sleeping Beauty (La Belle au bois dormant)</div>
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Wood engraving, 1916</div>
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The Sleeping Beauty, from the same year, is one of Gwen Raverat's most attractive images; although the print was editioned in black-and-white, Gwen hand-coloured at least one copy, which can be seen on the website of the Raverat Archive <a href="http://www.raverat.com/">here</a>. All of the pieces illustrated in this post come from the Raverat Archive, by permission of the artist's grandson William Pryor, the author of the fascinating <i>Virginia Woolf & the Raverats</i>.<br />
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Olive Pickers</div>
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Wood engraving, 1922</div>
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Street by Moonlight, Vence, I</div>
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Wood engraving, 1922</div>
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Jeu de Boules, Vence, II</div>
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As I mentioned earlier, it is Gwen's Provençal engravings that speak most strongly to me, and all the rest of the images here come from that vivid period in Vence, where Gwen nursed the dying Jacques while also nourishing her own art. The wood engravings Gwen made in Vence are among her loveliest; unfortunately the Provence climate played havoc with the woodblocks, so these exquisite works can never again be printed direct from the block.<br />
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La Place en Hiver</div>
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Wood engraving, 1923</div>
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La Place en Été</div>
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Wood engraving, 1923</div>
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Old Women, state 1</div>
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Wood engraving, 1924 </div>
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Gwen Raverat's long and influential career as a wood engraver was cut short by WWII. In her <i>British Wood-Engraved Book Illustration 1904-1940</i>, Joanna Selborne writes of Gwen Raverat, "Apart from Lucien Pissarro, she was virtually the only practitioner in the early days of the revival to apply the lessons of Impressionism and Post-Impressionism and to retain an interest in light effects throughout her work."<br />
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The Balcony, state 2</div>
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Wood engraving, 1926</div>
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In addition to the books above, I strongly recommend the biography by Frances Spalding, <i>Gwen Raverat</i>, a really compelling read.<br />
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<br />Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com2tag:blogger.com,1999:blog-340634554199883217.post-1131152054863957302014-07-25T16:57:00.000+01:002014-07-25T16:57:00.604+01:00Rilke and Slevogt: The PantherAs soon as I saw this etching by Max Slevogt of a black panther, I thought of Rainer Maria Rilke's 1902 or 1903 poem Der Panther, written as a response to Rilke's friend Rodin's urging to work directly from life. So as I had a bit of time on holiday this week, I tried to make my own version of Rilke's poem. I wouldn't call it a translation, as apart from retaining the four quatrains, I have ignored the form of the original - the metre and the rhyme. The best proper translation I know is that of my late friend Stephen Cohn in Neue Gedichte: New Poems (Carcanet, 1992). I didn't have this with me while I sat and struggled with the hilarious responses of Google Translate, but I did have the sensitive translation of Susan Ranson from Rainer Maria Rilke: Selected Poems (OUP, 2011). Back home I have taken the precaution of checking Google's grasp of German with the literal prose translation of Patrick Bridgwater in Twentieth-Century German Verse (Penguin, 1963). Any boo-boos remain, of course, my own.<br />
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<div style="text-align: center;">
Max Slevogt (1868-1932), Schwarzer Panther</div>
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Etching (with three extra panthers as drypoint remarques), 1914</div>
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<div class="MsoNormal">
<span lang="EN-US">THE PANTHER<o:p></o:p></span></div>
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<span lang="EN-US">Jardin des Plantes, Paris<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">His barred eyes have grown so tired<o:p></o:p></span></div>
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<span lang="EN-US">of pacing, they have emptied out.<o:p></o:p></span></div>
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<span lang="EN-US">As if there were a thousand bars<o:p></o:p></span></div>
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<span lang="EN-US">and beyond those thousand bars, a
hollowness.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">The supple flexure of his paws,<o:p></o:p></span></div>
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<span lang="EN-US">revolving in an ever-tightening gyre,<o:p></o:p></span></div>
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<span lang="EN-US">creates a passionate dance around<o:p></o:p></span></div>
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<span lang="EN-US">the still centre of his fierce, numbed
will.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Just sometimes, the shutter of his lens<o:p></o:p></span></div>
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<span lang="EN-US">lifts, without a sound.<o:p></o:p></span></div>
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<span lang="EN-US">An image enters, pulses through the coiled
spring of his sinews,<o:p></o:p></span></div>
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<span lang="EN-US">and winks out in his heart’s great silence.<o:p></o:p></span></div>
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<span lang="EN-US"><br /></span></div>
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<span lang="EN-US"><br /></span></div>
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<span lang="EN-US">translation © copyright Neil Philip 2014</span></div>
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Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com7tag:blogger.com,1999:blog-340634554199883217.post-54661980360857871632014-06-25T15:49:00.000+01:002014-06-25T15:49:19.993+01:00The Pre-Impressionists: Jules Bastien-LepageJules Bastien-Lepage was born in Damvillers, Meuse in 1848. After studying under Cabanel at the École des Beaux-Arts, Paris, Bastien-Lepage became a ground-breaking plein-air painter of realistic rural scenes, influenced by Courbet and the Barbizon School. Essentially a painter, Jules Bastien-Lepage only made 5 etchings himself, under the tutelage of Léopold Flameng, one of which is Retour des champs. In works such as this, Bastien-Lepage updated Millet's spiritual admiration of the peasant class into an unflinching reportage.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8x0cSrS_rLeArSA8AtSnhnaEPwMMl8EIE6bE-_e5Arsj5iqX_WaMk4txLyZi-GIoc1oNgiAypw1vgxjIHAZ3dO_u1iN5-EROt6C2Ig3tqMw6pvs3mzHbHZhrkWPbjyNxk5elbnf3z0jZA/s1600/Riordan+Bastien+Lepage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8x0cSrS_rLeArSA8AtSnhnaEPwMMl8EIE6bE-_e5Arsj5iqX_WaMk4txLyZi-GIoc1oNgiAypw1vgxjIHAZ3dO_u1iN5-EROt6C2Ig3tqMw6pvs3mzHbHZhrkWPbjyNxk5elbnf3z0jZA/s1600/Riordan+Bastien+Lepage.jpg" height="320" width="228" /></a></div>
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Jules Bastien-Lepage, Retour des champs</div>
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Etching, 1878</div>
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Most etchings of the art of Bastien-Lepage are, like this portrait of Sarah Bernhardt, interpretative etchings by others after Bastien-Lepage paintings. In addition to his landscapes, Bastien-Lepage was a sought-after and very accomplished portraitist, though I feel his heart was in his rural scenes.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdHQTyeaRfThxgORQykq2vPKKA1o6hdXMqWpr4yBJHRPwYpujJe0A43V6EOK-zNMqilCBiKf0bNvYHLT31IfJz49SzudVix_Aic4kged7V7ju8vXwuEli_D6RH2DznuTNC_Qvv305SDhjO/s1600/79Bastien-Lepage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdHQTyeaRfThxgORQykq2vPKKA1o6hdXMqWpr4yBJHRPwYpujJe0A43V6EOK-zNMqilCBiKf0bNvYHLT31IfJz49SzudVix_Aic4kged7V7ju8vXwuEli_D6RH2DznuTNC_Qvv305SDhjO/s1600/79Bastien-Lepage.jpg" height="320" width="250" /></a></div>
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Ricardo de Los Rios, Sarah Bernhardt</div>
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Etching after Jules Bastien-Lepage, 1879</div>
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Jules Bastien-Lepage influenced Manet and the Impressionists, and was especially important to the British plein-air painters who have become known as the British Impressionists, such as George Clausen, Henry Herbert La Thangue, Stanhope Forbes, and James Guthrie.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi-MinHpzyTdqU7oReTx076ELpw_2gttn26Dc1PzTnwNacRapwF5QTE5MBU9p_yBE6IMdVRsLroIciHnAjgqiCTnPiccCYhF7c-TuZTVaeQALmfbzXNeFCor1s1SYxjCOKYV4HT0vG3JoC/s1600/Studio+-+La+Thangue.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi-MinHpzyTdqU7oReTx076ELpw_2gttn26Dc1PzTnwNacRapwF5QTE5MBU9p_yBE6IMdVRsLroIciHnAjgqiCTnPiccCYhF7c-TuZTVaeQALmfbzXNeFCor1s1SYxjCOKYV4HT0vG3JoC/s1600/Studio+-+La+Thangue.jpg" height="320" width="247" /></a></div>
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Henry Herbert La Thangue, A Study (Boy holding a calf)</div>
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Lithograph, 1903</div>
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Jules Bastien-Lepage made an enormous contribution to art in his short lifetime. He died in 1884, at the age of just 36, a fact which may explain his relative obscurity today.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com2tag:blogger.com,1999:blog-340634554199883217.post-65861866991089523692014-06-16T09:32:00.000+01:002014-06-16T09:32:47.663+01:00The Pre-Impressionists: Eugene BoudinEugène Boudin actually took part in the First Impressionist Exhibition in 1874, but he has never been regarded as one of the Impressionists. He did play a key role in the development of the movement, though, as mentor to his friend Claude Monet. It was Boudin who encouraged Monet to paint, and it was while painting alongside Boudin at Honfleur that the 18-year-old Monet received the revelation of his artistic vision. After Boudin had set up his easel and begun to paint, Monet wrote, "I looked on with some apprehension, then more attentively and suddenly it was as if a veil was torn away; I had understood, had grasped what painting could be; by the sole example of this painter absorbed in his art and independence of effort, my own destiny was made clear." Boudin was born in Honfleur in 1824, so was sixteen years Monet's senior. The two men remained close until Boudin's death in Deauville in 1898; it even seems likely that the word "Impression", which so infuriated the critics when Monet used it, was borrowed from Boudin, whose notebooks and letters are full of the need to work "when the impression is fresh". Boudin's kindly and modest nature is well-caught in Paul Helleu's drypoint portrait of him sketching on the harbour at Deauville in 1894.<br />
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Paul Helleu, Eugène Boudin</div>
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Drypoint, 1894</div>
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The seaside towns of Normandy - Honfleur, Deauville, Trouville - were Boudin's home territory, and the primary subject of his art. Even though he spent every winter in his Paris studio, he never painted a single city scene. Boudin is particularly remembered for his relaxed and evocative beach scenes, which from the 1860s on documented the new fashion for beach holidays, with female holidaymakers in crinolined dresses and men in suits and bowler hats. But he was interested in everything to do with the sea, and his canvases are full of yachts and fishing vessels, sailors, fish markets, and washerwomen. Boudin was an astonishingly productive artist, creating over 4,000 oil paintings and 7,000 drawings, watercolours, and pastels. But he only made three prints: two unimportant lithographs, and a single etching. The etching is a dramatic seascape with many different vessels - sailing ships, fishing wherries, rowing boats - evidently very quickly sketched onto the surface of the copper plate, which has been quite lightly bitten. Boudin would have made this etching in the atelier of Alfred Cadart, having accepted membership of Cadart's Société des aquafortistes in 1864. But it was never published by Cadart, and Boudin seems to have laid it aside and forgotten all about it. It wasn't published until after his death, when it was first editioned by <i>L'Estampe et l'Affiche</i> in December 1899. There were 50 copies on Chine, with no text, and larger edition on laid paper with the words Boudin inv. et sculp., and usually the blind stamp of <i>L'Estampe et l'Affiche</i>. A third edition of 300 copies (20 on Japon and 280 on wove paper with no lettering) was published the following year by H. Floury in Gaston Cahen <i>Eugène Boudin, sa vie & son oeuvre</i>.<br />
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Eugène Boudin, Marine</div>
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Etching, c.1864</div>
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Delteil 3, Melot 3</div>
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On the evidence of this one lively "essai d'eau-forte", it seems a shame that Eugène Boudin did not pursue his interest in etching further, and given the etching fever of the time it is also quite surprising. But I am very pleased to have a copy of his only etching, from the Floury edition. The same publication contains a further eight etchings after Boudin, by Loÿs Delteil. Delteil (1869-1927) is better known today as a cataloguer of the etched work of others in his multi-volume work <i>Le Peintre-Graveur illustré</i>, but he was also a talented etcher in his own right.<br />
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Loÿs Delteil, Temps d'orage</div>
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Etching after Eugène Boudin, 1900</div>
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Loÿs Delteil, Chez la Mère Toutain</div>
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Etching after Eugène Boudin, 1900</div>
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Eugène Boudin's primary artistic principle was his commitment to working direct from the motif, en plein-air. This doesn't mean he never worked up his ideas in the studio - that was how he spent the winter months in Paris. But he was convinced that "everything painted directly and on the spot has a strength, a vigour, a vivacity of touch that can never be attained in the studio." He passed this conviction on to Monet. Boudin in turn had been converted to plein-air work by the Dutch painter Johan Barthold Jongkind (1819-1891), who was on friendly terms with artists of the Hague School, the Barbizon School, and the Impressionists, without, like Boudin, being subsumed into any of these groups. Boudin, too, was on very good terms with Barbizon artists such as Corot, Troyon, and Daubigny.<br />
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Loÿs Delteil, La plage de Trouville</div>
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Etching after Eugène Boudin, 1900</div>
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Loÿs Delteil, Campoux, environs de Brest</div>
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Etching after Eugène Boudin, 1900</div>
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The best place to see Boudin's art is on the Normandy coast where it was created. There are wonderful collections of his work at the Musée d'art moderne André Malraux in Le Havre and the Musée Eugène Boudin in Honfleur, mostly works donated by the artist's family, at his request, after his death.<br />
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Loÿs Delteil, Un marché au Faou</div>
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Etching after Eugène Boudin, 1900</div>
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Loÿs Delteil, Barques à marée basse</div>
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Etching after Eugène Boudin, 1900</div>
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Loÿs Delteil, Pardon dans l'église de Hauvec</div>
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Etching after Eugène Boudin, 1900</div>
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The critic Gustave Geffroy wrote in 1883 that Boudin was "together with Corot and Jongkind, one of the immediate precursors of Impressionism. He shows us that impenetrable black does not exist and that air is transparent."<br />
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Auguste Marie Lauzet, Le port de Trouville</div>
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Etching after Eugène Boudin, 1892</div>
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I'm indebted for information and translations to Vivien Hamilton's excellent book <i>Boudin at Trouville</i>.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com7tag:blogger.com,1999:blog-340634554199883217.post-3025338266690913202014-06-11T09:37:00.001+01:002014-06-11T09:37:20.837+01:00The Pre-Impressionists: Adolphe AppianI intend this post to be first in a short series about the important fore-runners or precursors of Impressionism. Although the first Impressionist exhibition of 1874 is regarded as an earthquake moment in the history of art, there had been plenty of warning tremors in the years leading up to it. The roots of Impressionism lie most obviously in the plein-art painters and printmakers of the Barbizon School, and I shall in due course be looking at Barbizon artists such as Camille Corot, Charles-François Daubigny, Charles-Émile Jacque, Jean-François Millet, and Théodore Rousseau. The Barbizon artists were inspired by the example of the English painter John Constable, just as the Impressionists were inspired by J. M. W. Turner. There were also plenty of artists working outside Barbizon with similar aims of capturing fleeting sensations of light and shade and representing the landscape as our minds actually apprehend it. Most of these had some contact with the Barbizon group, and my first subject, Adolphe Appian, is a case in point.<br />
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Adolphe Appian, L'étang de Frignon à Creys</div>
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Etching, 1962</div>
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Curtis & Prouté 1 (II/III)</div>
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Adolphe Appian was born in Lyon in 1818; his birth name was Jacques Barthélémy or Barthélémi Appian, and he first exhibited under the pseudonym Adolphe at the Salon de Paris in 1835. He studied drawing at the École des Beaux-Arts de Lyon under Jean-Michel Grobon and Augustin Alexandre Thierrat. Appian was both a musician and a painter, and did not fully commit himself to the visual arts until 1852. This was the year Appian met Corot and Daubigny, both of whom profoundly influenced his style and approach; after this, while remaining based in Lyon, he made numerous trips to the forest of Fontainebleau to paint alongside the Barbizon artists. Michel Melot, in his exhibition catalogue for the centenary show of <i>L'estampe impressioniste </i>at the Bibliothèque Nationale in 1974, writes of Appian's wish to resolve the problems of changing light, and to render visual sensations (air, water, leaves) in etching. If you look closely at the kinds of marks Appian uses to describe skies, reflections, or seas, you will see that these are not conventional notations, but freely expressive responses, designed to evoke rather than delineate.<br />
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Adolphe Appian, Le champ de blé</div>
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Etching, 1863</div>
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Curtis & Prouté 2 (III/IV)</div>
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Although Appian remained a provincial artist, working almost always in the region of Lyon, he did make his mark on the art world, exhibiting at the Salon de Paris from 1835 and the Salon de Lyon from 1847 (and regularly at both Salons from 1855), contributing etchings to <i>L'Artiste</i> and the <i>Gazette des Beaux-Arts</i>, and most importantly publishing etchings with the firm of Cadart. Appian was a prominent member of the Société des Aquafortistes from its foundation by Cadart in 1862 until its dissolution in 1867, and remained loyal to Cadart and his widow Célonie-Sophie until the collapse of the business on 12 January 1882.<br />
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Adolphe Appian, À gorge de Loup</div>
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Etching, 1863</div>
Curtis & Prouté 5</div>
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The 1878 Cadart catalogue advertises a Collection de 25 Eaux-Fortes (Paysages et Marines) by Adolphe Appian for the sum of 50 francs. This title, Landscapes and Seascapes, does convey in simple terms Appian's ostensible subject-matter. But the truth is that for Appian, as for the Impressionists, the true subject of art is the play of light. This is very evident in his etchings, and even more so in his monotypes. He made around 33 of these, some true monotypes (painted directly onto the plate and printed only once), others painted on top of an already-etched plate. Most of these monotypes, from the Atherton Curtis collection, are housed in the Bibliothèque Nationale in Paris; Melot's catalogue reproduces the etching Un Rocher dans les communaux de Rix alongside the same plate printed "en manière de monotype". The fact that the monotype was printed on the first state of the etching proves that Appian was already experimenting with monotype by 1865, three years before Paul Huet explored this technique and ten years before Degas. Appian was probably encouraged in his trials of different ways and intensities of inking an etching plate by Auguste Delâtre, who printed Appian's etchings from 1863 to 1869.<br />
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Adolphe Appian, Flotille de barques marchandes (Monaco)</div>
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Etching, 1872</div>
Curtis & Prouté 34 (II/II)</div>
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Adolphe Appian made his first etching in 1853. Between then and 1896 he produced some 90 etchings, 4 lithographs, and around 33 monotypes. This is quite a serious printmaking output for someone whose main work was as a painter, and this is reflected in the fact that nowadays Appian is much more fêted for his etchings than for his paintings. The paintings tackle the same subjects as his etchings, with a strong preference for "contre-jour" motifs; these extravagant contrasts of light and dark show the influence of another artist loosely affiliated to Barbizon, Appian's friend Félix Ziem. After he discovered the light of the Mediterranean, Appian's palette lightened and his style became looser and more impressionistic.<br />
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Adolphe Appian, Environs de Martigues (Bouches de Rhone)</div>
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Etching, 1874</div>
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Curtis & Prouté 39<br />
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Adolphe Appian, Barque de pecheurs<br />
(Barques de cabotage, Côtes d'Italie)<br />
Etching, 1874<br />
Curtis & Prouté 40 (II/III)</div>
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There is a good further selection of etchings by Adolphe Appian at <a href="http://www.oldmasterprint.com/appian3.htm">Old Master Prints</a>. The standard reference work is Atherton Curtis and Paul Prouté, <i>Adolphe Appian, son oeuvre gravé et lithographié </i>(1968).Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com2tag:blogger.com,1999:blog-340634554199883217.post-1942686708867849612014-05-13T11:30:00.000+01:002014-05-13T11:30:02.100+01:00Roger Vieillard: The Architecture of TimeI’ve posted before about some of the great names of twentieth-century French engraving—Jean-Émile Laboureur, Henri-Georges Adam, Ferdinand Springer. And there are more to come, such as Pierre Guastalla, the founder of La Jeune Gravure Contemporaine. Today I want to look at the man who, in my view, took the art of engraving to its dizziest heights, Roger Vieillard, born in Le Mans in 1907.<br />
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Roger Vieillard, Économie dirigée</div>
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Engraving, 1934</div>
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Guérin & Rault 11 (state v/v)</div>
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Vieillard devoted himself to the engraved line almost from the moment he entered Stanley Hayter’s famed Atelier 17 in 1934. He soon established himself as a master of copper engraving, specializing particularly in surreal mythological/architectural scenes, realized with great fluidity and imbued with a sense of mystery. He believed that engraving was capable of effects impossible to achieve in drawing or painting. The Surrealist atmosphere that prevailed at Atelier 17 in the 1930s is thoroughly ebedded in Vieillard’s work, though he seems to have avoided the factions and cliques of the Surrealist movement.<br />
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Roger Vieillard, Cité du Lac</div>
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Engraving, 1935</div>
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Guérin & Rault 97 (state vi/vi)</div>
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Interestingly. Vieillard’s wife, the American painter Anita de Caro, specialized in brightly-coloured abstracts, so the pair divided art up between them like Jack Sprat and his wife, he taking the line, and she the colour. A joint exhibition of the pair at the Propriété Caillebotte, Yerres, in 2008 was titled La Trait et la Couleur.<br />
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Roger Vieillard, Villes (Babylone)</div>
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Engraving, 1935</div>
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Guérin & Rault 86 (state iii/iii)</div>
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At Atelier 17 Vieillard studied alongside John Buckland-Wright, remaining on friendly terms with him. In England, the art of Roger Vieillard was also championed by the great expert on the livre d’artiste, W. J. Strachan, author of The Artist and the Book in France. Walter Strachan was influential in arranging two important exhibitions: a retrospective at the Ashmolean Museum, Oxford, in 1993 (with an excellent catalogue by P.M.S. Hacker, Gravure and Grace: The Engravings of Roger Vieillard) and the 1994 V&A exhibition Modern French Book Illustration: Vieillard, Flocon, Krol.<br />
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Roger Vieillard, Âge de fer</div>
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Engraving, 1948</div>
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Guérin & Rault 184 (state xvii/xvii)</div>
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There is a wonderful two-volume catalogue of Vieillard’s engravings by Anne Guérin and Virginie Rault: Roger Vieillard, Catalogue Raisonné, Oeuvre Gravé 1934-1989. This lists and illustrates 662 engravings, including those made for artist’s books, and also describes and usually illustrates all known “states” of each engraving. These can be quite numerous—some of Vieillard’s engravings go through over twenty states before reaching the “état definitive”.<br />
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Roger Vieillard, Fantaisie architecturale</div>
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Engraving, 1978</div>
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Guérin & Rault 605 (state v/vi)</div>
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The portfolio Architectures was published by Vieillard in 1980, “à la demande d’un groupe d’amateurs d’estampes”, in an edition of just eleven copies, of which nine were numbered 1-9 and two artist’s copies were marked A and B. It gathers together 14 engravings on architectural subjects, dating from 1934 to 1978. The engravings in the nine numbered copies are numbered out of the originally-envisaged editions of 30, 40, or 60, the artist never having printed the entirety of the stated editions. They were printed on very large sheets (in-folio raisin, 66 x 50 cm) of handmade Moulin de Larroque wove paper, in the atelier of the specialist taille-doucier Georges Leblanc. The small amount of type was hand-set and printed by Marthe Fequet and Pierre Baudier. My copy of Architectures is an out-of-series exemplaire de collaborateur, warmly inscribed by Roger Vieillard to Monsieur Baudier et Mademoiselle Fequet; the individual engravings are signed, titled, monogrammed, and marked “ép. col.”, collaborator’s proof. Presumably there was another exemplaire de collaborateur presented to Georges Leblanc, bringing the true number of copies of Architectures to thirteen.<br />
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Justification page of Architectures, inscribed by the artist</div>
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Roger Vieillard’s fascination with architectural forms persists right through his career. Some of his architectural fantasies are as complex as anything by Piranesi; equally he enjoyed simplifying these down to their essential structures, in what he called a “reprise linéaire”. I have three examples of this. Tour de Babel I was executed in 1935, while the reprise linéaire, Tour de Babel II, was created forty years later in 1975 (with the date 1935-1975 incised in the plate, in recognition of this engraving’s long gestation).<br />
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Roger Viellard, Tour de Babel I</div>
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Engraving, 1935</div>
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Guérin & Rault 28 (state vii/vii)</div>
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Roger Vieillard, Tour de Babel II</div>
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Engraving, 1975</div>
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Guérin & Rault 593 (state ii/vi)</div>
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My second example is also a Biblical subject, and again one that had haunted the artist for many years. It has its origins in a 1937 engraving of the blinded Samson destroying the temple of the Philistines, Chute du temple. In 1975 Vieillard engraved a new version of this, Ruine du temple (the major difference being the excision of a running female figure in the bottom right of the original composition, and a revised image of the god Dagon above the altar). His reprise linéaire of Ruine du temple is entitled Moment architectural.<br />
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Roger Vieillard, Ruine du temple</div>
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Engraving, 1975</div>
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Guérin & Rault 590 (state viii/viii)</div>
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Roger Vieillard, Moment architectural</div>
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Engraving, 1975</div>
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Guérin & Rault 591 (state iii/iii)</div>
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Lastly, Atelier and Espace d’atelier, both from 1973, envisages the artist’s working environment both as a hub of complex activity and as a tranquil negative space.<br />
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Roger Vieillard, Atelier</div>
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Engraving, 1973</div>
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Guérin & Rault 556 (state vii/ix)</div>
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Roger Vieillard, Espace d'atelier</div>
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Engraving, 1973</div>
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Guérin & Rault 557 (state iii/iii)</div>
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Two very interesting engravings from Vieillard’s later years are the almost abstract view of Manhattan, and the fully-abstracted Pyramide extrême. Manhattan is embodied by the Platonic idea of the skyscraper; I don’t think any individual buildings can be identified, and yet the place can be. Pyramide extrême similarly takes the idea of a pyramid to a state of geometric perfection. This engraving is printed from five plates—the central image and four long narrow rectangles along the sides.<br />
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Roger Vieillard, Manhattan</div>
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Engraving, 1966</div>
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Guérin & Rault 483 (state vi/vi)</div>
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Roger Vieillard, Pyramide extrême</div>
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Engraving, 1970</div>
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Guérin & Rault 513 (state iii/iii)</div>
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In a short foreword to Architectures, Vieillard sets out the reasons behind his fascination with buildings. He writes, Dès ses aurores, l’homme a conçu l’ARCHITECTURE comme le prolongement de sa vie brève et fragile, à la mesure de ses besoins et de ses songes, et l’a insérée dans une nature à lui offerte mais qui ne convenait pas à tous ses besoins. Elle fut d’abord son habitat, puis le décor des civilisations successives, le témoin de son passage et de ses modes de penser. “Since the dawn of time, man has conceived of architecture as a way of extending his brief and fragile life, by the measure of his needs and dreams, and has inserted it into a nature that was offered to him but did not meet all his needs. It was first of all a habitation, then the décor of successive civilizations, the witness of his time and of his way of thinking.”<br />
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Roger Vieillard, Cathédrale de Paris</div>
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Engraving, 1945</div>
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Guérin & Rault 130 (state vii/viii)</div>
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Beside Architectures, I have another rare set of engravings by Roger Vieillard, his Suite pour Déméter. This is one of twenty suites printed in bistre on Japon paper of a set of six engravings inspired by the Homeric Hymn to Demeter. Hymne à Déméter was printed in an edition of 250 (20 on Hollande and 230 on Lana), with 20 suites in bistre on Japon and 70 suites in black on Hollande. Mine is suite 6/20. The engravings were printed by Philippe Molinier on the hand press of Roger Lacourière. There are strong echoes of Surrealism in these really beautiful and graceful interpretations of the myth of the abduction of Persephone by Hades, the desperate search of her mother Demeter, the cyclical release of Persephone for the spring and summer, and the founding of the Mysteries of Eleusis.<br />
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Roger Vieillard, L'Enlèvement de Persephone</div>
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Engraving, 1946</div>
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Guérin & Rault 139 (state iv/iv)</div>
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Roger Vieillard, La Poursuite de Déméter</div>
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Engraving, 1946</div>
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Guérin & Rault 140 (state vi/vi)</div>
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Roger Vieillard, La Royaume des Morts</div>
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Engraving, 1946</div>
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Guérin & Rault 141 (state iii/iii)</div>
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Roger Vieillard, L'Incantation de Déméter</div>
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Engraving, 1946</div>
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Guérin & Rault 142 (only state)</div>
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Roger Vieillard, Éleusis</div>
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Engraving, 1946</div>
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Guérin & Rault 143 (state ii/ii)</div>
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Roger Vieillard, Vie & Mort de la Déesse - Les Saisons</div>
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Engraving, 1946</div>
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Guérin & Rault 144 (only state)</div>
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Roger Vieillard died in 1989. Like T. S. Eliot and Kenneth Grahame, he combined his artistic life with a successful career in banking, working at the Banque nationale pour le commerce et l'industrie (for which he was for many years the chief financial analyst, and latterly deputy director) in order to secure his financial independence and give himself complete artistic freedom. The exceptional purity of his artistic vision is perhaps partly due to this liberation from financial pressures.<br />
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Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com3tag:blogger.com,1999:blog-340634554199883217.post-65029304774779123612014-05-07T10:45:00.000+01:002014-05-08T11:17:18.623+01:00Tavik Frantisek Simon: Letters HomeFor those who remember my earlier post about the Czech artist <a href="http://adventuresintheprinttrade.blogspot.co.uk/search?q=Tavik">Tavik František Šimon</a>, I thought I would flag up a new book of interest, the first English translation of his <i>Letters from a Voyage Around the World</i>. This lively book was first published in Czech in 1928 but has been essentially unobtainable since. The translation is by David Pearson, with an introduction by the artist's grandson Michal Simon. I have an etching to share of a scene from Tavik Frantisek Simon's adventurous world trip, depicting beggars in Shanghai; it was published by the art revue <i>Byblis</i> in 1928.<br />
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Tavik Frantisek Simon, Au quartier Chinois (Chinese beggars, Shanghai)</div>
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Etching, 1928</div>
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Ref: Novak 480</div>
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For more information on the artist see the excellent Tavik Simon website <a href="http://www.tfsimon.com/index1.htm">here</a>. This model of a single-artist website contains among much else a good selection of the <a href="http://www.tfsimon.com/sveta.htm">drawings</a> made by Simon on his travels in 1926 and 1927. The website for Letters from a Voyage Around the World is <a href="http://taviksimon.com/">http://taviksimon.com</a>, and the ISBN is 978-0-9924915-0-5.Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com9tag:blogger.com,1999:blog-340634554199883217.post-30829052057617813152014-04-24T11:51:00.001+01:002014-04-25T10:42:36.788+01:00Underexposed: Female Artists and the Medium of PrintUnderexposed: Female Artists and the Medium of Print is an exhibition on a subject close to my heart, the importance of female printmakers, and the relative neglect their art still receives. Regular readers of this blog will remember my posts on artists such as Angèle Delasalle, Ghislaine de Menten de Horne, Käthe Kollwitz, Laura Malclès-Masereel, Lill Tschudi, Norbertine Bresslern-Roth, Terry Haass, Tirzah Garwood (Ravilious), and others. Underexposed will run from 16 May to 19 June at Studio 3 Gallery, University of Kent School of Arts, Canterbury, with an associated programme of free lectures. It has been curated by Frances Chiverton and Lynne Dickens, and you can find out more about it <a href="http://www.facebook.com/pages/Underexposed-Female-Artists-and-the-Medium-of-Print/1435433860020653">here</a>. I would reproduce the beautiful poster for the show, but I can't work out how to do so. Among the many artists included are Alison Wilding, Anne Desmet, Barbara Hepworth, Berthe Morisot (about whom I have a post-in-the-making), Bridget Riley, Cornelia Parker, Elisabeth Frink, Leonora Carrington, Louise Bourgeois, Paula Rego, Rose Hilton, Sandra Blow, Sarah Lucas, Sonia Delaunay, and Tracey Emin.<br />
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Dorothea Tanning (1910-2012), La Marée 5</div>
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Etching with aquatint, 1970</div>
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Dorothea Tanning, Untitled (En chair et en or)</div>
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Lithograph, 1975</div>
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Joan Mitchell (1925-1992), Untitled (Fresh Air School)</div>
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Lithograph, 1972</div>
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Gwen Raverat (1885-1957), The River Darent</div>
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Wood engraving, 1931</div>
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Gwen Raverat, The River Ver</div>
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Wood engraving, 1931</div>
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I have just waved goodbye to the five prints I am lending to this exciting show. They show a very varied range of female art, from Dorothea Tanning's transgressively sexualised La Marée and Untitled (En chair et en or) to Gwen Raverat's idyllic views of the English rivers of the Darent (in Kent) and the Ver (in Hertfordshire), via Joan Mitchell's cool and collected spatial abstraction for Fresh Air School. I am very pleased that these prints will take their place on the walls of Studio 3 alongside such varied and interesting company. For anyone who can get there, there will be a lecture on Gwen Raverat and her wood engravings on Saturday 31 May from 14.00 to 16.00, given by her grandson William Pryor. Other lectures include Gill Saunders, Senior Curator of Prints at the V&A, on women printmakers, Paul Coldwell on the studio of Paula Rego, and Anita Klein on beauty in art.</div>
Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com6tag:blogger.com,1999:blog-340634554199883217.post-88346183125517409682014-02-19T17:33:00.000+00:002014-02-19T17:33:47.856+00:00Original etchings by American ArtistsI’ve posted before about Sylvester Rosa Koehler and his role as godfather of the American Etching Revival – the revival that consolidated (in the late 1870s and 1880s) around the New York Etching Club. Now I have a copy of one of his rarest and most sought-after publications, <i>Original Etchings by American Artists</i>, published in 1883 by Cassell and Company. There is no indication that I can see of any limitation, but the print-run must have been quite small, both because the book is so rare now and because it is very large and would have inevitably have been extremely expensive when issued. I say book, but my copy has completely disintegrated, mostly through time, and also because 4 of the 20 original etchings have been previously removed. Luckily, the remaining etchings are all in very good condition, and I also have all of Koehler’s informative if sometimes rather waffly text. The four missing plates are The Inner Harbor, Gloucester by Stephen Parrish; The Ponte Vecchio by Joseph Pennell; A Cloudy Day in Venice by Samuel Colman; and A Tower of Cortes by Thomas Moran. Fortunately the rest of the Moran clan have been left for me, so I have a highly atmospheric Long Island landscape by Thomas’s wife Mary Nimmo Moran (with a wincingly twee title, taken from a Scottish ballad), and a true masterpiece by his brother Peter, Harvest at San Juan, New Mexico.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_FiXvQb1lRAZS822wtf4jaL0wyhYSFzNy1H2hL1nPtT_0FJmSB8mdy6XmEqC9cvaF8NJU13wJ25EuGEo_WyTqjfxvEMtWRYwcKFgSy1B8xFTmFE7Yawxj_9ryCqYBVtjGy2r5n9K3hqnw/s1600/Nimmo+Moran+Tween+the+Gloamin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_FiXvQb1lRAZS822wtf4jaL0wyhYSFzNy1H2hL1nPtT_0FJmSB8mdy6XmEqC9cvaF8NJU13wJ25EuGEo_WyTqjfxvEMtWRYwcKFgSy1B8xFTmFE7Yawxj_9ryCqYBVtjGy2r5n9K3hqnw/s1600/Nimmo+Moran+Tween+the+Gloamin.jpg" height="211" width="320" /></a></div>
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Mary Nimmo Moran, "'Tween the Gloamin' and the Mirk, When the Kye Come Hame"</div>
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Etching, 1883</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDRnJ97X4iDlsRyN8_yuMDAGlwi7uTI9hi2ohZnjaslYY2WYj0l4CAq8P5HVfE_e7vJMkLVfBOH8ofeX7XTU3nQTG4m-VZaRHnIPlyf9qy1XaALg_pmrkvvq45YHoglUHpyqPSGMywA8cj/s1600/Farrer+Winter+Evening.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDRnJ97X4iDlsRyN8_yuMDAGlwi7uTI9hi2ohZnjaslYY2WYj0l4CAq8P5HVfE_e7vJMkLVfBOH8ofeX7XTU3nQTG4m-VZaRHnIPlyf9qy1XaALg_pmrkvvq45YHoglUHpyqPSGMywA8cj/s1600/Farrer+Winter+Evening.jpg" height="216" width="320" /></a></div>
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Henry Farrer, Winter Evening</div>
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Etching, 1883</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitseSx32BGDHBhO6Ov38VtNBi2-K-V6gbr84PYE6d0mBIfS_yNTd94TfJpPqy4F1c53NQFtks9mIn7ZvfTHUwHWflQmi_37iDSUSSND9ruui6LaSPXB90dbAvkOtRdfC-3s3xYf_5c5j1o/s1600/Monks+Twilight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitseSx32BGDHBhO6Ov38VtNBi2-K-V6gbr84PYE6d0mBIfS_yNTd94TfJpPqy4F1c53NQFtks9mIn7ZvfTHUwHWflQmi_37iDSUSSND9ruui6LaSPXB90dbAvkOtRdfC-3s3xYf_5c5j1o/s1600/Monks+Twilight.jpg" height="214" width="320" /></a></div>
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John Austin Sands Monks, Twilight</div>
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Etching, 1883</div>
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Of the three twilight scenes above, that of Mary Nimmo Moran is my favourite. Despite the Scottish title, the scene is on Long Island, where Thomas and Mary Nimmo Moran habitually spent their summers.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn91Xvukz94Er17xgrJOW_0MnsC3awseqc0zGHtJyRCQqCG9klWm-f0hgM7SUBnGWdG7SNVndnSAKJWdORrsH9Nm65HrjK-QK6G0HGefW561t7BwI_fwUT0oxMK2RnFgb6Gp7R7RTMcWHW/s1600/Van+Elten+The+Deserted+Mill.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn91Xvukz94Er17xgrJOW_0MnsC3awseqc0zGHtJyRCQqCG9klWm-f0hgM7SUBnGWdG7SNVndnSAKJWdORrsH9Nm65HrjK-QK6G0HGefW561t7BwI_fwUT0oxMK2RnFgb6Gp7R7RTMcWHW/s1600/Van+Elten+The+Deserted+Mill.jpg" height="242" width="320" /></a></div>
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Kruseman van Elten, The Deserted Mill</div>
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Etching, 1883</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi34Jxl7UvJex7BoVyIOcDKNA_9JfzjBWpdlb42G7P1HJsYAVcylPV0hBaS-L-VNmBuOAdjsfw_ffpVCDtpk94U30eUG0LX1Xk6gSsT3HsOVp5EtT-UXGEkQa0ch6IJOzV39pmodEtbDvC/s1600/Gifford+The+Mouth+of+the+Apponigansett.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi34Jxl7UvJex7BoVyIOcDKNA_9JfzjBWpdlb42G7P1HJsYAVcylPV0hBaS-L-VNmBuOAdjsfw_ffpVCDtpk94U30eUG0LX1Xk6gSsT3HsOVp5EtT-UXGEkQa0ch6IJOzV39pmodEtbDvC/s1600/Gifford+The+Mouth+of+the+Apponigansett.jpg" height="228" width="320" /></a></div>
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R. Swain Gifford, The Mouth of the Apponigansett</div>
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Etching, 1883</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhug7uTyjg8wv9tZx46fKYiz1QIvhxLrPk97QDr-bY09gGXm4MMCH_cfEo7OphNcqkb2okr-xMnVZ3DUYeHYf_nvCl1hHpLLsZqThnLNx4cMw8ihkfySrOmYKpv6yAehVDgC_Te2nM2eTsG/s1600/Smillie+At+Marblehead+Neck.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhug7uTyjg8wv9tZx46fKYiz1QIvhxLrPk97QDr-bY09gGXm4MMCH_cfEo7OphNcqkb2okr-xMnVZ3DUYeHYf_nvCl1hHpLLsZqThnLNx4cMw8ihkfySrOmYKpv6yAehVDgC_Te2nM2eTsG/s1600/Smillie+At+Marblehead+Neck.jpg" height="129" width="320" /></a></div>
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James D. Smillie, At Marblehead Neck</div>
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(also known as A Bit at Marblehead Neck)</div>
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Etching, 1883</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeI5L70pC6hs0YySOzVqUvYNbh6ks3N9QJH9WCyZWTeZ3kJPYS48KAWCJgOnQNgrHrn0HrK0dkBrjsCu_4irexxuWftpCsGzAXt0JMjhtxSGktmspCEtqXnUgiI03E85Lo3kKtiPMyL95S/s1600/Nicoll+The+Smugglers%2527+Landing+Place.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeI5L70pC6hs0YySOzVqUvYNbh6ks3N9QJH9WCyZWTeZ3kJPYS48KAWCJgOnQNgrHrn0HrK0dkBrjsCu_4irexxuWftpCsGzAXt0JMjhtxSGktmspCEtqXnUgiI03E85Lo3kKtiPMyL95S/s1600/Nicoll+The+Smugglers%2527+Landing+Place.jpg" height="192" width="320" /></a></div>
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James Craig Nicoll, The Smugglers' Landing Place</div>
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Etching, 1883</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHfyZJ0VAZI_8TehzuvZ0eRafAd_wxOXehxeE5tvnaGLEa8zzUhVFueHygaWq9shLGqsDWT-r2Z1Gavddip-GWIB_LKxFu0i3OD8F-_wa9FSvyg9FpqkH8w2ZwF46LodJc2c7qRBLU2Ocj/s1600/Smillie+An+Old+New+England+Orchard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHfyZJ0VAZI_8TehzuvZ0eRafAd_wxOXehxeE5tvnaGLEa8zzUhVFueHygaWq9shLGqsDWT-r2Z1Gavddip-GWIB_LKxFu0i3OD8F-_wa9FSvyg9FpqkH8w2ZwF46LodJc2c7qRBLU2Ocj/s1600/Smillie+An+Old+New+England+Orchard.jpg" height="219" width="320" /></a></div>
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George H. Smillie, An Old New England Orchard</div>
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Etching, 1883</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0QTrW0yGMa4sgg3ByhJGJRBzMcUgiJ7cSFXYlqC4KoijJTh_XV-kWnwesShWOYykLvHWjTcXfbbW-qbzrmYvv9dzs4i5IYhAaLVWZ_f4sMkdN4CiZIV11cbpOl4Rs9bQOy1kLF6BvPjCE/s1600/Cole+The+three+cows.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0QTrW0yGMa4sgg3ByhJGJRBzMcUgiJ7cSFXYlqC4KoijJTh_XV-kWnwesShWOYykLvHWjTcXfbbW-qbzrmYvv9dzs4i5IYhAaLVWZ_f4sMkdN4CiZIV11cbpOl4Rs9bQOy1kLF6BvPjCE/s1600/Cole+The+three+cows.jpg" height="240" width="320" /></a></div>
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J. Foxcroft Cole, The Three Cows</div>
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Etching, 1883</div>
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<i>Original Etchings by American Artists</i> shows a snapshot of American printmaking at a crucial time; all of the etchings were made especially for this work, and many are dated 1883 in the plate. The artistic and technical skill on display is very impressive, even if Koehler’s insistence that each etching is a masterpiece needs to be taken with a pinch of salt. Impressionism hasn’t yet made any impact, and the key influence on the American landscapes, which predominate, is the plein-air Barbizon School. There are a couple of whimsical subjects: Church’s take on an Aesop fable and Gaugengigl’s faux-Meissonier fiddler. There are also four European scenes, one in Florence and one in Venice that have been removed, plus scenes in London and the Hague by Platt and de Haas. Of these, Platt's Whistler-esque scene of barges on the Thames at Woolwich seems to me particularly noteworthy.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGAeloKOUzL8BbTi4jNtS_CvJZvgd_WvScfDGlM3V3gfxxqR1IyCKpK2UKkFxSPo5gf6JHMND4tnQxqlQz92wwNRIOH41V7Treh1_YHb6K_-jJ9T-c9kZCnWN-UVOZ9oHLsRoQAGQYMKB_/s1600/Church+The+Lion+in+Love.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGAeloKOUzL8BbTi4jNtS_CvJZvgd_WvScfDGlM3V3gfxxqR1IyCKpK2UKkFxSPo5gf6JHMND4tnQxqlQz92wwNRIOH41V7Treh1_YHb6K_-jJ9T-c9kZCnWN-UVOZ9oHLsRoQAGQYMKB_/s1600/Church+The+Lion+in+Love.jpg" height="208" width="320" /></a></div>
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Frederick Stuart Church, The Lion in Love</div>
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Etching, 1883</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtyooTdbMcmsRAXMtNTVUP7B5C7v7AkSYEFSsNAS_OVDcy8emI0_b5xAVO80zYlGL1P3_IAQ7Rigypqbe_nuIg84iWqoEZCE6fKrQlrPX_iRcN0H9UqenMd-wqsl0gWVYmc-vBT7AIsIRB/s1600/Gaugengigl+And+Drive+Dull+Care+Away.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtyooTdbMcmsRAXMtNTVUP7B5C7v7AkSYEFSsNAS_OVDcy8emI0_b5xAVO80zYlGL1P3_IAQ7Rigypqbe_nuIg84iWqoEZCE6fKrQlrPX_iRcN0H9UqenMd-wqsl0gWVYmc-vBT7AIsIRB/s1600/Gaugengigl+And+Drive+Dull+Care+Away.jpg" height="320" width="268" /></a></div>
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Ignaz Marcel Gaugengigl, And Drive Dull Care Away</div>
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Etching, 1883</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyQzXPkIZzaItQfKftB-h3pdjv5k24RhLaD7r7aadok29FvqZChw_Dxb_B0vqI9Wbgt0qDHJAV3c9Wc2DYTFWUorgFEz-BjFHMI_uCAhtH8vrt8C7cxrKJuAK5O0SPc24Di9cUL5RKWHF-/s1600/Platt+Canal+Boats+on+the+Thames.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyQzXPkIZzaItQfKftB-h3pdjv5k24RhLaD7r7aadok29FvqZChw_Dxb_B0vqI9Wbgt0qDHJAV3c9Wc2DYTFWUorgFEz-BjFHMI_uCAhtH8vrt8C7cxrKJuAK5O0SPc24Di9cUL5RKWHF-/s1600/Platt+Canal+Boats+on+the+Thames.jpg" height="180" width="320" /></a></div>
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Charles Adams Platt, Canal Boats on the Thames</div>
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Etching, 1883</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuxGu0AE9Qqi7teQ8DZiH4DpFrxLnA7ra37HiNJHH8k5bpPmAbVlc_iIQJDh1kRh6Arg8LU58Pb9nyiglyadkScqtdpflLKh9fKWULexXsD1Kg4C5ZPEvtNzLuqHoeclKcpyzqdzsmvzU/s1600/de+Haas+Fishing+Boats.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuxGu0AE9Qqi7teQ8DZiH4DpFrxLnA7ra37HiNJHH8k5bpPmAbVlc_iIQJDh1kRh6Arg8LU58Pb9nyiglyadkScqtdpflLKh9fKWULexXsD1Kg4C5ZPEvtNzLuqHoeclKcpyzqdzsmvzU/s1600/de+Haas+Fishing+Boats.jpg" height="215" width="320" /></a></div>
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Mauritz Frederick Hendrik de Haas, Fishing Boats on the Beach at Scheveningen</div>
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Etching, 1883</div>
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There are also three plates of particular interest for American social life and culture rather than landscape. Frederick Dielman’s The Mora Players, shows Italian immigrant children playing the ancient finger-counting game of mora or morra, in which the winner is the one who correctly guesses the total number of fingers simultaneously displayed by the two players. Koehler writes, “Italian bootblacks playing ‘mora,’ and yet a thoroughly American scene, enacted on a New York sidewalk!”<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEgXpSOUmSw_1bCvpV0RIRpF1hp5UfN56JoYHkorlCu3qE-87jE1LWpApIk40R53ZiJoPEXgbXzJho7xKEyZHsjLIq0E7QD3YGCLPD2SQXA6GiH-tih61fg9BPqRK91SoCyw16O-WVzdMx/s1600/Dielman+The+Mora+Players.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEgXpSOUmSw_1bCvpV0RIRpF1hp5UfN56JoYHkorlCu3qE-87jE1LWpApIk40R53ZiJoPEXgbXzJho7xKEyZHsjLIq0E7QD3YGCLPD2SQXA6GiH-tih61fg9BPqRK91SoCyw16O-WVzdMx/s1600/Dielman+The+Mora+Players.jpg" height="211" width="320" /></a></div>
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Frederick Dielman, The Mora Players</div>
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Etching, 1883</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgcKJkp-PDBVTm_SMxOiOvuenXdgiqDkFzmiZvMlUA83QWfKVz-d7jGskBsBHpjFSBQDnhiDGlLbSpHLF1wuAAEp2a0FGFCNs-nTHZHewfPzkq70_DxU0j_PRN6HV80CiDkrC74pCROkVd/s1600/Wood+His+Own+Doctor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgcKJkp-PDBVTm_SMxOiOvuenXdgiqDkFzmiZvMlUA83QWfKVz-d7jGskBsBHpjFSBQDnhiDGlLbSpHLF1wuAAEp2a0FGFCNs-nTHZHewfPzkq70_DxU0j_PRN6HV80CiDkrC74pCROkVd/s1600/Wood+His+Own+Doctor.jpg" height="320" width="217" /></a></div>
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Thomas Waterson Wood, His Own Doctor</div>
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Etching, 1883</div>
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Thomas Waterson Wood’s His Own Doctor shows “an exhorter in a Methodist church and a ‘professor’ of white-washing” self-medicating against a fever. Wood’s African-American scenes show him to have had a keen sympathy with his subjects. However, to me his portrait of an infirm elderly African-American overplays the comic element. The hint of caricature detracts from the sharp observation of details such as the quilt robe.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgenNF56oET3heUs6UEFBj7WwWyQw2hvdoln5VUb9k5sIWNzbM7jXailS45F0aArHabpmZ53xfsUAPFSf-OEvCMQs6gAReosIyV3tTdQ49qSlPmZMXfSccsmjxJLM3BfcwprrRGsQxTBUCF/s1600/P+Moran+Harvest+at+San+Juan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgenNF56oET3heUs6UEFBj7WwWyQw2hvdoln5VUb9k5sIWNzbM7jXailS45F0aArHabpmZ53xfsUAPFSf-OEvCMQs6gAReosIyV3tTdQ49qSlPmZMXfSccsmjxJLM3BfcwprrRGsQxTBUCF/s1600/P+Moran+Harvest+at+San+Juan.jpg" height="149" width="320" /></a></div>
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Peter Moran Harvest at San Juan, New Mexico</div>
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(also known as Threshing Grain at San Juan Pueblo, New Mexico Territory)</div>
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Etching, 1883</div>
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Peter Moran’s Harvest at San Juan is to me an incredibly beautiful, important, and moving work. Peter Moran was one of the first artists to come to terms with the American Southwest, and in this etching he responds with grace and respect to the ancient cultures of the Pueblos. There is nothing here of the comedy to be found in Thomas Waterman Wood’s His Own Doctor. Nor is there any false romanticism. Sentimentality and guilt have no place in this etching, which focuses completely on the spiritual weight of the here and now. The centripetal force of this composition intrigues and delights me. Sylvester Rosa Kohler explains the scene thus: “The Indians use horses instead of oxen to thresh their wheat, and they are just driving them into the threshing circle indicated by the upright poles. The ground occupied by the horses is the cleaning floor, the raised ground which forms part of a circle in the foreground, is the earth banked up in levelling the floor, and the refuse of several years threshing.” Peter Moran seems to have instinctually understood that he was observing something with more meaning than a simple harvest, for he invests the scene with a thrilling sense of significance. The traditional method of threshing depicted seems to have been discontinued from 1920, replaced by the use of a threshing machine.<br />
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The setting for Harvest at San Juan is the New Mexican Pueblo now officially known by its Tewa name of Ohkay Owingeh (“place of the strong people”). This was the birthplace of the great 17th-century Pueblo spiritual and political leader Po’pay (or Popé), who briefly united the Pueblos against Spanish rule. I have, quite separately from my print collecting and dealing, a strong interest in Native American culture, and Peter Moran’s etching speaks eloquently to me—as eloquently as the Tewa “Song of the Sky Loom”, as translated by Herbert Joseph Spinden in his <i>Songs of the Tewa</i>:<br />
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Oh our Mother the Earth, oh our Father the Sky,<br />
Your children are we, and with tired backs<br />
We bring you the gifts that you love.<br />
Then weave for us a garment of brightness;<br />
May the warp be the white light of morning,<br />
May the weft be the red light of evening,<br />
May the fringes be the falling rain,<br />
May the border be the standing rainbow.<br />
Thus weave for us a garment of brightness<br />
That we may walk fittingly where birds sing,<br />
That we may walk fittingly where grass is green,<br />
Oh our Mother the Earth, oh our Father the Sky!<br />
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Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com8tag:blogger.com,1999:blog-340634554199883217.post-15003402570847981652014-01-17T11:40:00.001+00:002014-01-17T11:40:49.302+00:00Edouard Chimot and the Lost Girls of Montmartre<br />
It’s a while since I posted about the master of the Art Deco nude, Édouard Chimot. Of course if Chimot were simply a depictor of the nude, there wouldn’t be much to say about him—boudoir pictures are boudoir pictures, and that’s it. But Chimot is a much more complex artist than that—one in whom the twin themes of Eros and Thanatos, Love and Death, are inextricably intertwined.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDSgdJNgWrzXNvTIRY_ga0ctmul0RkFjN2flX1JpxLk9q0vxBV8t033B0-vu5IEkVf0NVGd2-JIVdFSgwMgchsXdFu4-9DmvlXkGQY5pdeEHeFY7vqphim5gI0kGRjpVA3Uh-VGsihUGT7/s1600/Montee-9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDSgdJNgWrzXNvTIRY_ga0ctmul0RkFjN2flX1JpxLk9q0vxBV8t033B0-vu5IEkVf0NVGd2-JIVdFSgwMgchsXdFu4-9DmvlXkGQY5pdeEHeFY7vqphim5gI0kGRjpVA3Uh-VGsihUGT7/s1600/Montee-9.jpg" height="320" width="217" /></a></div>
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Édouard Chimot, Le café-concert maudit</div>
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Colour etching with aquatint for La montée aux enfers, 1920</div>
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Of course Love sells better than Death, so sensuous nudes inevitably predominate in Édouard Chimot’s work. But his obsession with prostitutes, drug addicts, and good girls gone bad, means that the spectre of death and destitution hovers behind and around Chimot’s nudes, turning them from decorative erotica into perverse memento mori. They are women “soumises à leurs passions mortelles et délicieuses”, as the critic André Warnod put it.<br />
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Édouard Chimot, La Mort</div>
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Etching with aquatint for L'enfer, 1921</div>
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In my previous post, <a href="http://adventuresintheprinttrade.blogspot.co.uk/2009/02/fast-rise-and-long-slow-fall-of-edouard.html">The fast rise and long slow fall of Édouard Chimot</a>, I mentioned that Chimot had apparently been commissioned in 1903 as architect of the Villa Lysis in Capri, for the dissolute Baron Jacques d'Adelswärd-Fersen. It seems from the current Wikipedia entry on the Villa Lysis that this is not quite the case, based on a study of Jacques d'Adelswärd-Fersen’s correspondence with Chimot; Chimot’s role was more likely that of interior decorator. In a comment on my earlier post, Martin Stone notes that “he was also the art director of Fersen's review <i>Akedemos</i> (1909-1910).” The inscription above the door of the Villa Lysis, AMORI ET DOLORI SACRUM, certainly shows that Édouard Chimont and Jacques d'Adelswärd-Fersen were kindred spirits, for the same words could also be inscribed above Chimot’s work: A Shrine to Love and Sorrow.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMgro1pXcNBGVII3yO1tcwC8OwHaKvZSEnl-HmYhKVW9jn3RLePZGPx4V4Bwo5lqzCkpkjmGWYjIk_w-mGpNQ0kFIlTDudBSxEua-KjVizi4aWn0_GoEINYA83GWviTnsCeMjw6VFb4MJE/s1600/Chimot-Enfer13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMgro1pXcNBGVII3yO1tcwC8OwHaKvZSEnl-HmYhKVW9jn3RLePZGPx4V4Bwo5lqzCkpkjmGWYjIk_w-mGpNQ0kFIlTDudBSxEua-KjVizi4aWn0_GoEINYA83GWviTnsCeMjw6VFb4MJE/s1600/Chimot-Enfer13.jpg" height="320" width="232" /></a></div>
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Édouard Chimot, L'enfer</div>
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Etching with aquatint for L'enfer, 1921</div>
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When speaking of the art of Édouard Chimot in the context of this post, I am speaking only of the work created before the Wall Street Crash. Anything published after 1931 (allowing for projects already in the pipeline to emerge) is the work of a lesser, lighter artist. The intensity and complexity of Chimot’s work in the 1920s is completely missing.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgy-vs9FQZ27KroxENeDP3yAMlxld5GRbFeQIpxpevZvwJjsw741YjgDUXymf0QGrQQY_4hqYa6NlmG3WYomX2kbW9CGxSdLNmhswo8nnnElhccQXxg1NwFP8QBO8FmDPxDIiltBVGXdQp/s1600/Chimot-Enfer12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgy-vs9FQZ27KroxENeDP3yAMlxld5GRbFeQIpxpevZvwJjsw741YjgDUXymf0QGrQQY_4hqYa6NlmG3WYomX2kbW9CGxSdLNmhswo8nnnElhccQXxg1NwFP8QBO8FmDPxDIiltBVGXdQp/s1600/Chimot-Enfer12.jpg" height="320" width="232" /></a></div>
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Édouard Chimot, Ce sont les autres qui meurent</div>
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Etching with aquatint for L'enfer, 1921</div>
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All the images in this post are etchings with aquatint published between 1919 and 1922, the years when Chimot exploded onto the Paris art scene. These established him as a central figure in the world of printmaking and fine press publishing. He was the artistic director of the publications of both La Roseraie (the atelier and publishing house of Roger Lacourière) and of <a href="http://adventuresintheprinttrade.blogspot.co.uk/search?q=editions+d'art+Devambez">Les Éditions d’Art Devambez</a>. In the latter role, especially, Chimot was crucial to the artistic development of many important artists of the twenties.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ2CzpVhifgaQgMImBCDdRQPkefCcHVEZA_b5vK-q9gpalQyTqWjNnbq26liUGR6avoZA6DKd2oASvUsJWO39MCmIcVvyXhuhFZUafb0kq8i30c2cwMT-VYS3KBbIG7dD_Fut-2PcwkTkO/s1600/Chimot+-+Montmartre+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ2CzpVhifgaQgMImBCDdRQPkefCcHVEZA_b5vK-q9gpalQyTqWjNnbq26liUGR6avoZA6DKd2oASvUsJWO39MCmIcVvyXhuhFZUafb0kq8i30c2cwMT-VYS3KBbIG7dD_Fut-2PcwkTkO/s1600/Chimot+-+Montmartre+1.jpg" height="320" width="283" /></a></div>
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Édouard Chimot, Les Après-Midi de Montmartre</div>
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Etching with aquatint for Les Après-Midi de Montmartre, 1919</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVKDxrJ8r5wE6UMw2xB84IOsaQrafODoaGQ5qfS7WJIvHBVPuwBTE_RhnpyK5eN26ASIOMImmd3jouFIVqHiK3EIyR7pjCCPg-2H5fPIEaH98vMvLllowAfRjfNK1omdj_TERe1C7L-7QF/s1600/Chimot+-+Montmartre+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVKDxrJ8r5wE6UMw2xB84IOsaQrafODoaGQ5qfS7WJIvHBVPuwBTE_RhnpyK5eN26ASIOMImmd3jouFIVqHiK3EIyR7pjCCPg-2H5fPIEaH98vMvLllowAfRjfNK1omdj_TERe1C7L-7QF/s1600/Chimot+-+Montmartre+5.jpg" height="320" width="275" /></a></div>
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Édouard Chimot, Le rouge et le noir</div>
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Etching with aquatint for Les Après-Midi de Montmartre, 1919</div>
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The etchings that made Chimot’s name, published in 1919 as <i>Les Après-Midi de Montmartre</i>, are precious evidence of Chimot’s pre-war work. They were made in 1913, but publication was delayed by the Great War. You can see that the hairstyles and clothes (when worn) are quite different from the 1920s etchings. The difference in style is not huge, but in these early etchings one can still see the influence of Symbolists such as Félicien Rops, Louis Legrand, Armand Rassenfosse, and Henri Thomas. Édouard Chimot was to take the aesthetic of these artists into the twenties, and blend it seamlessly with the glittering curves of Art Deco.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghwPW-W3xeBAZjKt43IaHmGI6Uwf9qvIkPN3FyTQJVMKdpQAVDfG5D4ZumgV5kok1LTl9Hp02rV9tSghCSM0hDOZag2HKspS1Ma5hzUDho5S9reSmJpeNoPEykBp-Q5NBSZ1PtYAAaINPC/s1600/Chimot+-+Montmartre+6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghwPW-W3xeBAZjKt43IaHmGI6Uwf9qvIkPN3FyTQJVMKdpQAVDfG5D4ZumgV5kok1LTl9Hp02rV9tSghCSM0hDOZag2HKspS1Ma5hzUDho5S9reSmJpeNoPEykBp-Q5NBSZ1PtYAAaINPC/s1600/Chimot+-+Montmartre+6.jpg" height="320" width="283" /></a></div>
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Édouard Chimot, Moulin Rouge</div>
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Etching with aquatint for Les Après-Midi de Montmartre, 1919</div>
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Édouard Chimot, La fille et sa mère</div>
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Etching with aquatint for Les Après-Midi de Montmartre, 1919</div>
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The <i>Après-Midi de Montmartre</i> etchings were printed on a hand press by Eugène Delâtre, in an edition of 170 copies. I love the connection they make right back from the post-war world into the dying days of the Belle Époque.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3M38EB_4F1uAax25Rn-DF1RW4eKv_dbog2_l5BZMtE4YZUeMypVLbbxGZiEmJsS1yDkqy4FVING81_wdnlJV8Ozm4qF-lkBmUYYIm02Ks7H5tYNEDeoRewYPJZzFlOIHO677miGHQ8lL1/s1600/Chimot+-+Montmartre+10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3M38EB_4F1uAax25Rn-DF1RW4eKv_dbog2_l5BZMtE4YZUeMypVLbbxGZiEmJsS1yDkqy4FVING81_wdnlJV8Ozm4qF-lkBmUYYIm02Ks7H5tYNEDeoRewYPJZzFlOIHO677miGHQ8lL1/s1600/Chimot+-+Montmartre+10.jpg" height="320" width="273" /></a></div>
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Édouard Chimot, Opium</div>
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Etching with aquatint for Les Après-Midi de Montmartre, 1919</div>
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Édouard Chimot, Épave</div>
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Etching with aquatint for Les Après-Midi de Montmartre, 1919</div>
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After the war, Édouard Chimot established himself in an atelier in the rue Amphère in Montmartre. The atmosphere there is well described by Chimot’s close friend, the poet Maurice Magre, in Magre’s introduction to Chimot’s edition of Jean de Tinan’s <i>La Petite Jeanne pâle</i>. Magre writes, “L’atelier de Chimot est un coin de Paris où Montmartre d’aujourd’hui se condence à certaines heures, se cristallise, donne tout son comique, toute sa couleur et parfois toute sa peine. C’est toujours la pensée d’un individu qui crée et qui groupe. C’est la pensée de Chimot, son amour pour cette forme de l’existence parisienne qui a créé le miroir vivant, aux facettes varies, qui donne en tournant ces images qui ne sont jamais banales et qui toutes sont representatives.”<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBFI-TXgIjGxNaOgvjqVp3flcgqfNk_8oNThw9fRJa5wLKZh2JX3RgAhx1hkw3IidQbSbQuMe-_petSl5y_9v-vJh7ImXCzqZ0u2fseJVpkh3Cx7_-4kABd439QDmf7n1dp90cqNYWUq7t/s1600/Chimot+-+Opium+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBFI-TXgIjGxNaOgvjqVp3flcgqfNk_8oNThw9fRJa5wLKZh2JX3RgAhx1hkw3IidQbSbQuMe-_petSl5y_9v-vJh7ImXCzqZ0u2fseJVpkh3Cx7_-4kABd439QDmf7n1dp90cqNYWUq7t/s1600/Chimot+-+Opium+1.jpg" height="320" width="227" /></a></div>
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Édouard Chimot, Soirs d'opium</div>
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Colour etching with aquatint for Les soirs d'opium, 1921</div>
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Édouard Chimot, Est-ce celle que j'aime</div>
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Colour etching with aquatint for Les soirs d'opium, 1921</div>
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Édouard Chimot, Dans la fumée bleue</div>
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Colour etching with aquatint for Les soirs d'opium, 1921</div>
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Chimot’s “living mirror” of Bohemian life in Paris is never more truly reflective than in his etchings for Maurice Magre’s 1921 collection of poems, <i>Les soirs d’opium</i>. These colour etchings with aquatint were, like the similar etchings for Magre’s <i>La montée aux enfers</i> a year earlier, printed by Eugène Delâtre with Chimot’s assistance. Édouard Chimot was not by nature a colourist, and the wonderfully subtle tonalities of the etchings for both these projects are probably attributable to Delâtre, a master printer of colour etchings à la poupée. Certainly Chimot never achieved any colour effects like this again.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjel7B56IdvfcNuxlOkcNCXD5U1OCITFd_bhCQoYqBx8FpQSjSAGeWq68If_UHRbt3uMk9HMyV6bAYowITHHlx16QalpTGgjfumPEctBXQoDcGshnTOjOCmNDqZ74ccntMqrHuA_xFVsu0_/s1600/Chimot+-+Opium+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjel7B56IdvfcNuxlOkcNCXD5U1OCITFd_bhCQoYqBx8FpQSjSAGeWq68If_UHRbt3uMk9HMyV6bAYowITHHlx16QalpTGgjfumPEctBXQoDcGshnTOjOCmNDqZ74ccntMqrHuA_xFVsu0_/s1600/Chimot+-+Opium+3.jpg" height="320" width="226" /></a></div>
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Édouard Chimot, Volupté</div>
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Colour etching with aquatint for Les soirs d'opium, 1921</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPGVb5WEOyFtbUrr4GHCHaVAJBdwUKr_JVIB5fu673q5E2ziS99sxeV74UnMbXBwS_8OJSBXbN0l2-ELif4tkEC072YxL9tahIgyMxLpT0mB3AaP_3ZqGxnzsuPQqGrtnJooDClYYvuSW7/s1600/Chimot+-+Opium+9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPGVb5WEOyFtbUrr4GHCHaVAJBdwUKr_JVIB5fu673q5E2ziS99sxeV74UnMbXBwS_8OJSBXbN0l2-ELif4tkEC072YxL9tahIgyMxLpT0mB3AaP_3ZqGxnzsuPQqGrtnJooDClYYvuSW7/s1600/Chimot+-+Opium+9.jpg" height="320" width="228" /></a></div>
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Édouard Chimot, Rosaire de souvenirs</div>
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Colour etching with aquatint for Les soirs d'opium, 1921</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYKoAea_ld1QituAtHUyounmYx-DlZCHmyvDcj_FBxkU7S0Hr5cs5iv3xjqrD0Gb1zKDOIxWQQO2u16zG0W3hqo3SK99Su45r8Sn9mwLNcZ90oEQsuDPx6z1HSoW7X_1uya8AmGz9B33Ex/s1600/Chimot+-+Opium+10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYKoAea_ld1QituAtHUyounmYx-DlZCHmyvDcj_FBxkU7S0Hr5cs5iv3xjqrD0Gb1zKDOIxWQQO2u16zG0W3hqo3SK99Su45r8Sn9mwLNcZ90oEQsuDPx6z1HSoW7X_1uya8AmGz9B33Ex/s1600/Chimot+-+Opium+10.jpg" height="320" width="227" /></a></div>
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Édouard Chimot, À une amie</div>
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Colour etching with aquatint for Les soirs d'opium, 1921</div>
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<i>Les soirs d’opium </i>was published in an edition of 513 copies by L’Édition (Georges Briffaut); the etchings are printed on wove paper with the watermarks MBM and J. Perrigo.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisMz6UuvPnrgo17dOcX1i9Ob_YM6Xpw0b0HcZ6227Ey-rF-o6b0iG4jBPNG4-3ASjmhvUZQc6XfxLO9HQbS1rxcUvjxj7WhbvpwQtnA0Njw7wnNzMW_IUTArprfIktzYfw7E64PFOeD46i/s1600/Chimot+-+Petite+Jeanne+1+%2528col%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisMz6UuvPnrgo17dOcX1i9Ob_YM6Xpw0b0HcZ6227Ey-rF-o6b0iG4jBPNG4-3ASjmhvUZQc6XfxLO9HQbS1rxcUvjxj7WhbvpwQtnA0Njw7wnNzMW_IUTArprfIktzYfw7E64PFOeD46i/s1600/Chimot+-+Petite+Jeanne+1+%2528col%2529.jpg" height="320" width="244" /></a></div>
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Édouard Chimot, La petite Jeanne pâle</div>
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Colour etching with aquatint for La Petite Jeanne pâle, 1922</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8vTaGA4cIPt-zFow_vtABU9ULG7bQCibhkwdbUuFDo3zpzcxwI06Ldc6rWo-onUr110f6wRNrAgXnKyTWEBJuPlWwd2o_Phyphenhyphenh8v4WRVqWe9vF5sMJbm86B6ob7wdShae-QTs-70bHsvFU/s1600/Chimot+-+Petite+Jeanne+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8vTaGA4cIPt-zFow_vtABU9ULG7bQCibhkwdbUuFDo3zpzcxwI06Ldc6rWo-onUr110f6wRNrAgXnKyTWEBJuPlWwd2o_Phyphenhyphenh8v4WRVqWe9vF5sMJbm86B6ob7wdShae-QTs-70bHsvFU/s1600/Chimot+-+Petite+Jeanne+2.jpg" height="320" width="240" /></a></div>
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Édouard Chimot, Noctambulisme</div>
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Etching with aquatint for La Petite Jeanne pâle, 1922</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieZLyaC-oTBFdH0yFaa7a74E8TP2ea_n28li4ucgZFD6fPOYoGmpLUVv9gxjXoZgVdSusx4ZJQcUX7AyHTu-MvzDHa8BEkxLagrqMaDbs8LA16Wi9wOigQClZTiNiEOYFs867mDp7OWDFT/s1600/Chimot+-+Petite+Jeanne+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieZLyaC-oTBFdH0yFaa7a74E8TP2ea_n28li4ucgZFD6fPOYoGmpLUVv9gxjXoZgVdSusx4ZJQcUX7AyHTu-MvzDHa8BEkxLagrqMaDbs8LA16Wi9wOigQClZTiNiEOYFs867mDp7OWDFT/s1600/Chimot+-+Petite+Jeanne+3.jpg" height="320" width="248" /></a></div>
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Édouard Chimot, Quatre heures du matin</div>
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Etching with aquatint for La Petite Jeanne pâle, 1922</div>
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<i>La Petite Jeanne pâle</i>, already mentioned above, was published in 1922 by Éditions Léo Delteil in an edition of 393 copies. The etchings were not printed by Delâtre, but at La Roseraie by Philippe Molinié and Eugène Monnard under the direction of the artist.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9lfq09dXWLmAbkM-lCybrIQptl_8hQvF3yBJJ6WLtV5sFmesk43lCI_tmCu0JYcTgkk5SInyky3SCphcG1TqYrNqMoh519qlTgPZaobGjnErBHOQIYl0yoeGiYiqgXpsRgVkYN8q1d5M1/s1600/Chimot+-+Petite+Jeanne+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9lfq09dXWLmAbkM-lCybrIQptl_8hQvF3yBJJ6WLtV5sFmesk43lCI_tmCu0JYcTgkk5SInyky3SCphcG1TqYrNqMoh519qlTgPZaobGjnErBHOQIYl0yoeGiYiqgXpsRgVkYN8q1d5M1/s1600/Chimot+-+Petite+Jeanne+5.jpg" height="320" width="249" /></a></div>
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Édouard Chimot, Sa mince visage parmi l'ébouriffment des cheveux de soie frisée</div>
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Etching with aquatint for La Petite Jeanne pâle, 1922</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy55KYTkaO83Ep2gYouGXoAxcczvsMyf51tN97A8wR68Dy9Y02GZSZm-RVsibHyUgsCAngDrX9YzUX7a3e_0vXApvv27q7Q6UHPuRcWQBdF2WSxt6eFUuQbB5j7gH8ZqidxN3GaTNFhdRM/s1600/Chimot+-+Petite+Jeanne+6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy55KYTkaO83Ep2gYouGXoAxcczvsMyf51tN97A8wR68Dy9Y02GZSZm-RVsibHyUgsCAngDrX9YzUX7a3e_0vXApvv27q7Q6UHPuRcWQBdF2WSxt6eFUuQbB5j7gH8ZqidxN3GaTNFhdRM/s1600/Chimot+-+Petite+Jeanne+6.jpg" height="320" width="246" /></a></div>
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Édouard Chimot, Les rideaux d'arbres dépouillés rétrécissent doucement l'horizon</div>
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Etching with aquatint for La Petite Jeanne pâle, 1922</div>
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Édouard Chimot only spent a very few years at peak velocity. His art is at its best in these few years after the Great War. After about 1922, Chimot’s work becomes slowly more facile and crowd-pleasing. He remains a really interesting artist right through the 1920s, with flashes of real brilliance, especially in etchings close to his heart, such as those for Maurice Magre’s <i>Les belles de nuit</i> in 1927. But if you are looking for the purest of the impure, look no further than the art of Édouard Chimot, 1919-1922.<br />
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Neilhttp://www.blogger.com/profile/18020242863144175965noreply@blogger.com6