page_title: Line engraving
section_title: A technological foe: the 19th century
hierarchical_section_title: Line engraving / A technological foe: the 19th century
context_page_description: Line engraving is a term for engraved images printed on paper to be used as prints or illustrations. The term is mainly used in connection with 18th or 19th century commercial illustrations for magazines and books or reproductions of paintings. It is not a technical term in printmaking, and can cover a variety of techniques, giving similar results.
  Steel engraving is an overlapping term, for images that in fact are often mainly in etching, mostly used for banknotes, illustrations for books, magazines and decorative prints, often reproductive, from about 1820 to the early 20th century, when the technique became less used. Copperplate engraving is another somewhat outdated term for engravings. With photography long established, engravings made today are nearly all artistic ones in printmaking, but the technique is not as common as it used to be; more than other printmaking techniques, engraving requires great skill and much practice, even for an experienced artist.
context_section_description: In the 19th century, line engraving was both helped and hindered. Help came from the growth of public wealth, increasing interest in art, and the increase in the commerce of art—as exemplified by the career of such art dealers as Ernest Gambart—and the growing demand for illustrated books. Hindrance to line engraving came from the desire for cheaper and more rapid methods – a desire satisfied in various ways, but especially, by etching and various kinds of photography.
  The history of the art of line engraving during the last quarter of the 19th century, is one of continued decay. It was hoped that technical improvements might save the art, but by the beginning of the 20th century, pictorial line engraving in England was practically non-existent. The disappearance of the art is due to the fact that the public refused to wait for several years for proofs (some important proofs took as long as 12 years to create) when they could obtain their plates more quickly by other methods. The invention of steel-facing S copper plate enabled the engraver to proceed more quickly; but even in this case he can no more compete with the etcher than the mezzotint engraver can keep pace with the photogravure manufacturer.
  Line-engraving flourished in France until the early 20th century, only through official encouragement and intelligent fostering by collectors and connoisseurs. The class of the work has entirely changed, however, partly through the reduction of prices paid for it, partly through the change of taste and fashion, and partly, again, through the necessities of the situation. French engravers were driven to simplify their work in order to satisfy public impatience. To compensate for loss of color, the art developed in the direction of elegance and refinement.
  In Italy, line engraving decayed just as it had in England, and outside Europe, line engraving seems almost nonexistent. Here and there a spasmodic attempt may be made to appeal to the artistic appreciation of a limited public, but generally, no attention is paid to these efforts. There are still a few who can engrave a head from a photograph or drawing, or a small engraving for book illustration or for book plates; there are more who are highly proficient in mechanical engraving for decorative purposes, but the engraving-machine is quickly superseding this class.
caption: An engraved portrait of Daniel Webster by Duyckinick, 1873
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