Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-02-23
UNIQUE work of art has lately been
III produced by an artist temporarily
~ domiciled in Washington, Macowin
futile. 1t is a wood gravure-a

-picturing the famous curved bridge known
rs the Thomas Viaduct, used by the Baltimore
q Ohio Railroad to cross the Patapsco River
at Relay, Md. This bridge was built In 1893
by the railroad, and is named in honor Of
Phillip Evans Thomas, then president of the
board Of directors. The wood gravure, which
measures 16x22 inches, was commissioned by
James Christy Bell of New York, great-grand-
son of Phillip Evans Thomas, and 1t now hangs
ON the waIl of his office.
The method used for making wood gravures
is practically the same that formerly EN-
ployed for wood engraving, but wood gravure
is not made with the purpose of reproduction
and would not lend itself to such application.
The engraver proceeds in the same manner as
he would IL he were working for reproduction,
but his line is broader and deeper and stronger
When his work Is finished it is linked once and
for all, and 1t becomes picture, and o very
effective picture at that It must be framed
and shown under glass, but in all probability
IS as near permanent as work can be.
The wood engraver of the past century almost
Invariably produced engTavings for the purpose
Of printing Illustration, and engraved the works
of others, not his own original drawings or
designs. Mr.. Tuttle, to the contrary, makes
his wood gravures directly from nature, work
ing IN the open with his gravers, on his wood
block. just as the painter would work with
brushes on canvas. 1t is a remarkable thing
how much atmosphere and effect of light he
gets his gravures, well as accuracy of
detail.
~ Besides this interesting panel of the Relay
Bridge, Mr.. Tuttle is engaged at the present
time in producing q series of "a wood gravures
of Yale University, memorial group, some of
which he has with him here at the present
time-superb and delightful works.
Wood engraving is not only difficult me-
dunn but. supposedly one of restricted poten-
tialities. Mr.. Tuttle has proved it. to the con-
trary, extremely plant and capable of both
breadth and subtlety. He has, in fact, devel-
oped or invented, a new medium of artistic
expr sSsion.
and how, some win ask did it come about?
Mr.. Tuttle was trained as a wood engraver
and began the practice Of the art in New York
City shortly before the time when photo
engraving came in. The introduction of photo
engraving, as every one knows. practically did
away with wood engraving, and as a young
man, Mr. futile found himself suddenly trained
in q craft which was no longer in demand.
Following his inclination, however. he turned
from wood engraving to illustration, to land
scape painting, and he studied under Duveneck
and Chase and at the Julien Academy In Paris.
Thus he became both craftsman and painter.
Some years ago he was asked If he would not
make some engrayings for specific purpose.
At first he declined, imagining that his hand
had lost its defines, but. finally yielding. he
discovered to his amazement that not only was
he technically as able as he had ever been,
but that his training as q painter had added
to his facility. Realization of this fact en-
couraged him to attempt original blocks And
thus developed this art of wood gravure, an
art which he is now giving himself to with
the utmost enthusiasm and zeal.
Referring to the art Of wood engraving Mr.
Tuttie has said that ''in this second quarter
Of the twentieth century comparatively little is
known Of this art and Of its service to mankind.
From Bewick, ITS, to Linton, 1e75-lO0 years
wood engrayers greatly increased the ar
6stTy OF the engraved woodblock. From Lin
ton, 1875, to Cole, 1895, American wood en-
gravers achieved an equal place Of honor with
the artist IN the artistic development Of en-
craving bringing 1t to its highest pinnacle In
history. The engraver and the artist thus
carried graphic art beyond the sphere of
economics. But science displaced art in the
craft Of illustration. Necessity brought forth
graphic substitute the photo plate ten times
faster and cheaper. Then wood engraving
languished. For IS years the craft of wood
engraving has not been taught, and few of
those skilled in the beautiful technique of that
period Of ascendancy are now living; only two
are now active" But Mr.. futile maintains
the art Of wood engraving is not and cannot
be lost art. The craft of wood engraving as
graphic process is obsolete, but the art of that
technique must forever be preserved" The
landscape painter creates and produces a work
from start to finish himself. 1t is direct mes
sage The artist engraver, Mr.. Tuttle insists
may be quite as independent and If he has a
message and commands his technique is equally
free to give it significant expression
Mr.. Tuttle has made a wood gravure portrait
OF his wife, which, as an example Of this new
art, he is going to present to the graphic arts
department of the Smithsonian Institution.
His series of wood gravures for Yale is to go as
o permanent record to that great university
Here is an interesting and notable departure
from the usual in the field of art.
PORTRAITS by Edwin B. Child, 50 in number.
are now on view at the National CaIIar.,