Evening star. [volume] (Washington, D.C.) 1854-1972, 1908-05-09
or ETcH|McS
Interesting Display at the H.
brary of Congress.
WORK OF FRENCH ARTISTS
Over Four Hundred Prints Shown in
the Collection.
ARRANGEMENT IS POPULAR
All the Various Methods Of the
Subtle Art Represented in
Southwest Gallery.
WORK OF FRENCH ARTISTS
ARRANGEMENT IS POPULAR

| SVNSA " COT 00A@S4ys
An interesting collection of work pro-
duced during the latter half of the nine
teenth century by French etchers il now
on exhibition at the Library Of Congress,
| in the southwest gallery, where for the
past eighteen months the Rembrandt
etchngs and engravings have been on
| view.
Four hundred and eighteen prints,
drawn from the Gardiner Greene Hub
bard. T. Harrison Garrett and library
collections, are set forth and one hun
dred and twenty-four etchers are repre-
scented. The exhibits are arranged chro-
nologically, according to etchers. and ex-
amples of the work not only Of painter
etchers but OF those who devoted them
selves principally to the reproduction Of
paintings by other artists are shown. In
deed so comprehensive is this collection
that while confined to the output of one
| period and a single nation, it seems TO
| cover the entire field and to completely
illustrate the power and possibilities Of
the etcher's art. 1t has, moreover, the
advantage of being both popular and
merit but great charm. and furnishing
material for delightful examination as
well as serious study.
A Subtle Art.
Etching is undoubtedly the most astute
and subtle Of the reproductive arts. 1t
| demands accuracy and precision, and yet.
| periodically, builds to degree, upon
| chance. The great etcher is he who is
| able to profit by accident, who, recognize
| ing the prerogatives of his medium. en-
advantage. And VET ne
must be absolutely sure of himself. for
etching recognizes no middle ground De.
tween success and failure. No form OF
artistic expression is more direct and
there Is none in which the medium is less
in evidence 1t is in truth the essence OF
art unincumbered by it's usual parapher-
MALTA.
or course. there are various methods.
Pure etching consists of biting with ACID
and stopping out with shellac to pre-
vent overriding certain lines. cut or
drawn, on 8 metal plate. usually copper.
from which when linked an impression
can. be printed dry-point more closely re-
sembles engraving inasmuch as the plate
is scratched with the needle without be-
ing bitten by acid. and aauatint il exclu-
siyely wash and surface treatment rather
than manipulation of line. Each o. these
processes may be used Independently or
in conjunction with one another
The results are comparatively easy to
distinguish, a pure etching resembling
line drawing. a. dry-point having soft,
somewhat velyety texture, and an aqua
tint appearing as though done in wash.
Much, of course, depends. however. upon
the individual manipulation and the ink
ing and wiping OF the plate. There In.
some say. almost as much art in toe
printing as In the etching and the fact
that only a limited number Of good ia
pressions can be taken from a plate II
not always borne In mind. Herein lies the
difference between the sgned proofs and
other impressions. AZ well as the explana-
ton o. the price which certain prints
command.
Distinction il also to be made between
the works of the painter-etchers and the
reproductive etchers, the first be .ng origi-
nal conceptions. and the second copies Of
the works of others. In etching, a. in en-
craving, tne reproduction of painting
is comparatively mechanical process.
Albrecht Durer was probably the hrst
painter-etcher; Rembrandt the greatest;
Whistler the cleverest. the most mimi
table, but the majority of the artists OF
the last century experimental with etch-
ing and not a few attained excellent re-
suits.
The Barbizon Group.
The present exhibition opens with a
group Of etchings by the Barbizon
painters, Corot, Rousseau, Jacque, Mil
let and Daubigny, men who did much to
revolutionize the art of the world. Co.
rot's manner in etching. as in painting.
is very distinctive, and his work IL not
likely to be mistaken for that OF any
other A first and second state are
fine Impressions of "Environs of Rome
and "A Village" The same atmospheric
quality which is found in his canvases
is in these. and with 1t sturdy
charm. But one Rousseau is shown.
Oaks of Roche" which, however, 10
very characteristic. There is stern
strength in this little etching which IL
very alluring, crispness of handling
which none but a master attains.
Charles Emile JacQue is largely rep
resented and well. He is best known
as a painter Of sheep. but deserves no
direct and scholarly is his work. that
one must be dull indeed not to grasp
it's significance. The distribution OF
light and shade in "A Flock Of Sheep
toward making it especially notable.
though The Farm Yard" The Little
Cottage at Kercassin.' The Wood
Road" The Departure Of the Sheep
and Return to the Farm are scarcely
less brilliant or lovely.
Millet Is also admirably represented.
and of all the painters it seems most
natural that he should have etched. The
directness of his vision. the bare rugged
ness of the truths he espied. and his'habit
of setting aside non-essentials made it
for him an ideal medium of expression.
AS Mrs Schuyler van Rensselaer, has
very truly said. "Other modern etch!ngs
have more charm than his-but none. have
quite 30 much feeling. Others show more
grace and delicacy of touch. but none
shows more force or certainty, and none
a more artistic economy Of means These
things which the true etcher tries to do.
Millet did, and with more magnificent
power than any man, perhaps. since Rem
brandt" There is In fact much to sug-
gest Rembrandt in these etchings of Mil
let's which are now on view-the home
illness yet humapness Of the themes the
rude strength Of the lines. the force OF
the impressions all go to suggest klnship
between these masters. woman Churn-
ing is an excellent example. as also
will be found THE Carder, Man With
a Wheelbarrow." Woman Feeding Her
Child" and THE Cleaners" the last be-
ing especially interesting-a second state
A Wide Contrast.
There is a wide contrast between the
works of Millet and those OF Daubigny;
where the one is abrupt in utterance the
other Ia suave. and as the one is vigor-
Gus and forceful the other ID delicate and
refined None can fail to be attracted by
80 IT