New-York tribune., 1886-02-08
TIE ETCHING CLUB EXHIBITION

TIE ETCHING Clue EXHIBITION
This year Mcssrs. Parrish and Platt easily
bear off the honors OF the exhibition, although are
accustomed see half dozen claimants for first rank
But Mr. Bacher sends nothing. MI Pennell is repre-
scented by only a single etching, Mrs NJ n. Moran and
Mr.. Duveneck contribute work characteristic without
beng remarkable Mr. Thomas Moran has expended his
energies principally in repro iucton and Mr.. r. swain
Clifford. o. whom hoped better things. has used
his needle only for the translation of another artists
work, Miss Edith J.. Pierce of Philadelphia. is absent
after past contributions have led to expect much
of her work. The remarkable pantcr-echngs OF the
exhibition signed 10y the two artists whom have
named first. But the excellent regulations OF other
eIchers, like Messrs Peter Moran, Van EIten, j. D.
Smie Henry Farrer, L. NJ. Yale and Nicoll, fully
sustained by their work. Next various tentative
efforts, several bearing the OF debutans; others
like the work of Mr. Alexander Sch!lling, indicating
experimental departures ny artists who have previously
etched plates for this exhibition Even in the work
it is pleasant TO find evidences OF intention 10
needle must he used if etching is to be
gared as an art, that H. as means OF direct personal
expression. But continue. find ourselves
sorely puzzled detect personality in the etchngs OF
Messrs Millspaugh sabin and FaleOner and finally
find ourselves confronted by what is practically en-
graver's etching In the showy pictures Of Messrs.
Lander, Hamilton LAUDER and Hovcuden Some of THIS
is technically painter etching. that IS the artist has
etched his own painting But the methods the cXces-
sve rewOrkng Of the plate with various instruments,
to say nothing Of the printers aid and the purpose Of
such decorative etching" which is simply please
popular liking pictures. all show that
work has just much to do with art as had the old
fashioned steel engraving and In other words
it is prrverSiOn OF rec auOgraphic means OF eX-
preston into adoption OF conventions and a
plcte subOrdinaou OF the etchcrs individuality. TIL
naturally brings to the reproductive etchings, Of
which there are more this exhibition that before
The increase is partly accounted for Of course by the
presence of the etchlng5 for the Morgan catalogue
commercial enterprise which has certain interest,
although We regret thar work for the catalogue has
kept Mr Clifford and Others from scndin-
painteretchugs representative of their Aside
from the catalogue cchings the abundance OF techu
cally essentially reproductive work IN the collection
might be taken as another dsprova!, II another were
needed OF the tradition there is little repro
duotve etching IN this country Tie di-couragng feat
of this exhibition is the prevalence of snowy plates
worked up with a view TO " pictorial" effects.
There is nothing moro characteristic of the artist
echer than his tact IL omissions, ana the ability to Sc
lcct essential aud suggestive lns aud u leave ou
nor-esseutIals well illustrated in the work OF Me~srs
Platt and Parrish. Both these artists assigned by
foreign critics the school OF seymour Hadcn,"
classification naturally mace In Mr.. Parrish
case regards his Thames e;chings in this
exhibition Mr.. Whistler is as naturally SUI
gested by the "LOndpn Bridge" especially by th"
group of boats in the left foreground Again there /,
something of Mr. Haden's touch in the s~iriug water OF
the middle distance In this instance the force Of Mr
Parrish's composition would have been increased by
siinplfcation. The uverlrominent foreground boat
help weaken tie left of the bdck 0uni. which l. con-
fused ana lacking I'm significance Aud there "a al-"
In the Iers ective and IN the shadows
But the etching a waOe Is an admirable pccc OF
work The is Characteristic ana II Is interpreted
with animation aud sCggestivenrss. one wouid hc
long ia exhaustug London Bridge" passing glaucr
exhausts an etching ike Mr.. Htmiiton's "Partine
nrf
Dee an example Of delicate quiet refined rather
than forcible, but VITA charm OF ts own. I'm direct
contrast tbs VIC have his "GrecDwich," an etching
of The aggressive order In which tn artist has made
serious but altogether successful attempt at the
treatment clouds and smoke woaths His "on the
Thames Is OF the expressive of hs smaller
etchings and IN mis- " Fishery" We Ind delightfully."-
irce kc chy movementaithoush the faulty dist nce ana
still faulty h-ures are serious drawback Nj Pnit
continues regard hsures incidents OF little cOiS
quemcr but this is only minor difference between the
Two artists. While Mr. PAtrs line hardly be trmed
conventional il certainly much less spirited AMI IL Is
also personal than that OF Mr. Parrish Mr. Plat Is
often happier than Mr. Parish in leaving out irrelevant
and his simplicity iu composition Il illustrated
in larger plates, like " On the Connecticut
Holland" In the latter the long bridge
is "A bold experiment bat the nc although not parcu
larly beautiful In ITSELF Is sklfuy relieved by the piles
beneath which realy do their work in supporting tho
structure, aud by the shipping bcy0nL Ihe
warmth OF color IN tEe skJ OI ENcniH< on tho
Mas the and light OF the "DOrlrech the strong
contrasts in the BruSge" aud the warmth Of sunlight
on the In the "Luyndrecht all suggest painters
use OF brush In such full. strong effects AIR Platt
stands alone. Without analyzing hJ work at greater
length may say that while his etchngs sometimes
lack animation, they show Intelligent raughtsndnsnip
the secontrol OF artist able to avoid doing too
much.
BACKGROUND OF current etched work and wS
are conscious or his' presence when examining
cally example OF line drawing supported by Nat
Possibly the echer attacked hls plate directly
with tue obtain this support. possibly be re-
moved little Of his ground with sandpaper TO aunt
acid but the result In any case Is subordinate To Tue
sweep OF the bridge pardpet, winch IS the chlrf
renrrseted tus wear Dut In the work OF Mr. c. H. Free
man and two others We mud MI Pcnnei repre-
sentel by proxy. In the Impression OF hr Duvenecks
uoorIy Iuulcated faults which may Oe party
printing Dir. Duvcneck, ike MI Penne.l Is vIyacipus
ana stimulating echer but TINS wor although interest
ing. does not snow him AT his best MRS MoiArH VlHor
telhng ne work Is seen IN three OF Jour Long island
the best. In shrubbery and IN the foliage ANA
Mrs Morans strong dashng drawing speaks Tor
lseh but TIE re,uiIs are sometimes ihueect1',y,
rather than sensuOusy pleasing There moro oI thr
Orchard" ana "GOing TO Pasture aro ariitlOns
themes treated before with conspicuous success The
from other model than nature Mr Thomas
Moran Vera Cruz was better ia water eolors tnah In
b tck ANA white Van Ell sends Holland scenes
simpler III composition aud execution Than ms nsdd
landscapes, aud drawn with much thonghtiu deIcacy
aId some excellent effects OF light and -haie
Something might De sald' too OF his " Uhher
the MniOws." but we must pass on with briei !
notice OF DR.. Yales rendering OF fOiinge ana OF !
tnnultuOus rapids IN the White Cnntr," Ir nenry |
Farrers single land aud Mr. N:OTs Interesting
up of shore scenes Mr. j. ID. Smile se DIS landscape
etched from striking subj "hOugh sport ~
the Yosemite" both showing foeng and sound
tuchncsi knowicdge. Mr.. MonE,s sale contribution
q credItable landscape with sheep entitled "By the
Waysde" and there are figure etclingS by Mr Wood.
Signs Of rigbt tendency appear IN Mr.. f. L. Hunters
Ola Pier" aud there eChngs which deserve nOcc
by Miss Mdtiack Miss Dllayc, Miss CcmenIn and the |
other young women VINO scratch ana De WAN slch re-
mirkable industry IN Philadelphia. Mr. I. &. Fdrrcr |
pro yrs himself "a versatile by mis- differing
trrpTetatIOns OF Venruan ana English sublects Mr. |
uaIuitoh's conventional wood at least |
offset by one etching which shows something OF the