Looking at Life as a Series of Lines Minnesota Etchers 1890s-1930s Thomas O'Sullivan AT THE TURN of the 20th century, a varied lot of has been bitten with acid. Usage includes drypoint Minnesota artists outfitted themselves with gear that with etching, although no acid is employed, the design lent their studios the air of laboratories and printing being cut into the plate with sharp steel needles." The shops. Etching needles, copper plates, acid baths, and plate thus prepared was spread with ink, then wiped printing presses all served an artistic vision that was clean; ink remaining in the etched lines was transferred marked by the artists' choice of the etching medium as to paper as the plate and paper passed through a press. well as by their personal styles of composing and draw­ The process had been valued since the 16th century as ing pictures. A group of several hundred prints in the an inexpensive means of producing multiple copies (or Minnesota Historical Society art collection represents "impressions") of an image. Etching took on a special this phenomenon in considerable depth and affords a attraction for American artists of the late 19th and case study of how artists in one state participated in an early 20th centuries, however, as they "made enthusias­ international art movement. tic commitments to the arts of original etching and The term etching is often erroneously used to refer to wood-engraving and, with equal fervor, sought to join a print in any one of several techniques. It is in fact a the mainstream of printmaking as it was exemplified by very specific process, the complexities of which are the fine art of European peintre-graveur (artist as summarized in a 1914 handbook by Minnesota-born printmaker)."' etcher George T. Plowman: "Etching (from the Dutch etsen,' to eat) is a form of engraving in which the de­ sign [drawn with a needle on a prepared metal plate] ' William M. Ivins, Jr, How Prints Look (Boston: Bea­ con Press, 1958) is an excellent introduction to the printmak­ ing processes, written and illustrated for the layperson; AS PART of the "Twin Cities Etchings'" series, Charles George T Plowman, Etching and Other Graphic Arts: An "W. Post etched the Sibley House, Mendota, as a relic of Illustrated Treatise (New York: John Lane Company, 1914), 53; James Watrous, A Century of American Printmaking frontier Minnesota in about 1890. To reinforce (Madison: University of Wisconsin Press, 1984), x. the sense of age and passing time implicit in the overgrown yard and broken tree. Post Thomas O'Sullivan is the curator of art at the Minnesota added an hourglass in the margin of the plate Historical Society and co-compiler of The Prints of Adolf — a visual footnote known as a remarque. Dehn, A Catalogue Raisonne (1987). 276 Minnesota History recollections and local associations." The goal of 50 MILS COLLECTIONS etchings was probably never met, but 14 prints from "Twin City Etchings" have been located for the MHS Artists from Paris to Mankato pursued the elusive collection." skills described by Plowman: "To tell as much in as few The fondness for art that "savors of a foreign air" has lines as possible is the ideal of etching." There emerged been a lasting preference of Minnesota artists and col­ a veritable subculture of connoisseurship made up of lectors. While early 20th-century Minnesota etchers etchers and collectors and based on elegancies of line, did find local subjects attractive for their work, they subtle modulations of tone, mastery of chemical and also readily seized opportunities for travel and work mechanical processes, and the refined presentation of abroad. The medium lent itself to on-the-spot responses etchings in exhibits and portfolios. Artists and critics to the stimulation of exotic places. Artists carried cop­ maintained that technical proficiency was not in itself per etching plates into the field, the better to capture a guarantee of success in this demanding medium. their spontaneous reactions to shifting light and new Rather, an all-encompassing devotion was required: scenery. Cadwallader Washburn (1866-1965) was lion­ "The etcher must look at life as a series of lines ."' ized as much for his adventures abroad as for his ability to express in line the spirit of a place's people, architec­ AN EARLY MINNESOTA EXAMPLE of this interna­ ture, and landscape: "He is a veritable globe-trotter tional revival of the medium was a series entitled "Twin and had traveled to nooks and corners of the old world City Etchings." This was a set of prints "etched from for material for his etching needle." The son of Senator Nature and the original paintings" in the early 1890s by W. D. Washburn, he grew up in Minneapolis, studied Charles W. Post of St. Paul, in which each picture was architecture briefly, and began his artistic career under paired with a descriptive commentary either by Post's the guidance of H. Siddons Mowbray and William copublisher Henry Wellington Wack or by local nota­ Merritt Chase. Washburn took up etching in 1903. His bles. The series included pleasant riverside vistas; early fame and present reputation rest on a large body etched reproductions of historic images (such as Henry of work done during travels to Mexico, Japan, Mo­ Lewis's view of St. Paul in 1844, with commentary by rocco, and Europe, and on several suites of drypoints historian J. Fletcher Williams); and views of the homes known as the "Norlands series." Named for a family of prominent citizens, such as industrialist and United farm in Maine, these landscapes constitute Washburn's States Senator William D. Washburn and transporta­ meditation on nature in a place of lifelong importance tion and trade magnate Norman W. Kittson. Post and to him: "In the Norlands dry-points, of which the Wack planned a collection of 50 etchings, to be sold by fourth series was completed this summer [1911], it was subscription to a group limited to 500 collectors. Their my desire to record the varying phases under which venture reveals a telling blend of commercial and aes­ Nature has shown herself to me, with such keen appre­ thetic interests. The presentation of local subjects with ciation as is possible only to one who has lived in close didactic texts was an ambitious attempt to reach a mar­ intimacy with her from childhood."^ ket of art lovers, antiquarians, and loyal citizens who Washburn's contemporary George Plowman (1869- could appreciate their cities' pictorial appeal. "It is to 1932) was a native of LeSueur, a graduate of the Uni­ be regretted," noted the prospectus, "that too many of versity of Minnesota, and an architect by profession. In our people have the erroneous idea that nothing pos­ the 1890s he worked for Daniel H. Burnham on the sesses real merit in the way of Art Production unless it World's Columbian Exposition in Chicago, and he savors of a foreign air, and apparently lose sight of the toured Europe with fellow Minnesotans Alexis Jean fact that there is much of beauty and excellence all Fournier and Alexander Grinager. Plowman studied around them; and surely St. Paul and Minneapolis are etching with the English master Sir Frank Short, and not without their wealth of enchanting scenes and pic­ by 1914 was not only an accomplished etcher of Eu­ turesque surroundings—spots endeared by pleasant rope's cathedrals, but author of the handbook Etching and Other Graphic Arts: An Illustrated Treatise. His writings helped to codify the importance of an artist's ^ Plowman, Etching, 62; Levon West, Making an Etch­ mastery of the entire etching process: "The artist who ing (London: Studio Publications, 1932), 10. draws on the copper and does not himself bite the plate ' "Twin City Etchings," prospectus, St. Paul, ca. 1890, copy in the Minnesota Historical Society. with the acid is not an etcher. This should also be true * "Who is Who in Minnesota Art Annals," The Minneso­ to a less degree with regard to printing. The true etcher tan, Oct., 1915, p. 12; Cadwallader Washburn, "Notes of an draws, bites and prints the plate himself."^ Etcher in Mexico and Maine," Print Collectors Quarterly 1 (Oct., 1911); 477. = "Who is Who in Minnesota Art Annals," The Minneso­ WHILE MINNESOTA ETCHERS sought picturesque tan, Aug., 1915, p. 13-17; Plowman, Etching, 54. effects in faraway settings, they also brought to local Fall 1987 277 ARCHITECTURE was a favored subject of the etching revival. The peripatetic Cadwallader Washburn etched Portada de la Iglesia, Santo Domingo in Havana in 1904. Washburn's lifelong affection for a family farm in Maine inspired several series oj drypoints (1906-10), including Fuller Hill Road. \)^^ GEORGE T. PLOWMAN'S un­ titled landscape, about 1900, ml exemplifies the etcher's effort to "tell as much in as few lines as possible." Bare paper sug­ gests open space; sharp, .JS*^ etched lines and darker, blurred marks of drypoint fill in the riverbank, trees, and distant hills. GILBERT FLETCHER etched notable buildings in Mankato before establishing a career as a maker of block prints and fine, printed textiles in New York City. This view of the Blue Earth County Court­ house and Mankato High School was made in 1912. (Gift of Mr. and Mrs. Robert Berquist.) CLARA MAIRS utilized soft-ground etching to depict The Picnic (ca. 1925) in grainy lines and textured masses. In this technique the artist draws on a tissue laid on the plate, ad­ hering the etching ground to the underside of the tissue. Lifting away the tissue reveals the image on the plate, which is then etched and printed. ST. PAUL artist Clement Haupers reinterpreted the classical theme of The Three Graces by the light of a burlesque stage for this 1928 soft-ground etching.