The Graphic Arts

N OF CHIC G P CHIC G NO THE U IVERSITY A O RESS , A O , ILLI IS TH B E T O O YORK E AK R AYL R C MPANY, NEW

T HE CAMBRIDGE UNIV ERSITY PRE S S , LONDON

T H MAR ZEN—KA B SHIKI— KA I SH T OKYO OSAKA KYOTO FUKUOKA E E U U A, , , , , S NDAI THE GRAPHIC ARTS

MODERN MEN AND MODERN METHODS

J O S E P H P E N N E L L 3 1 13 . AU TH O R OF THE GRA P HI C ARTS S M OD N O ERIES , ER ILLUSTRATI N T H E ILLU STRATI ON O F B O O K S

TH E S CAMMON L E CTU R ES F O R 1 9 2 0 P U B L I SH ED F O R T H E ART IN STITU TE OF C H I C A G O B Y T H E UNIV ER SITY OF CH ICAG O PRESS CH ICAG O ILLINOIS COPYRIGHT 1 92 1 BY THE UNIVER SITY OF CHICAGO ALL RIGHTS RESERVE D PUBLISHED N OVEMBE R 1 92 1 COMPOSED AND P RINTED BY TH E UNIVERSITY OF OP CHICAG R ESS CHICAGO ILLINOIS U . S .A. L i b r ary

NOTE — THE LECTU RES PRESENTED IN THIS VOLUME C OMP RISE THE SIX TEENT H SERIES DELIVE RED AT THE ART INSTITUTE OF

CHICAGO ON THE SCAMMON FOUNDATION . THE SCAMMON LECTU RESHIP IS EST ABLISHED ON AN AMPLE BASIS BY BEQU EST

OF M M DON M ON WH O D D IN 1 90 1 . RS . ARIA SHEL SCA M , IE THE WI LL P RESCRIB ES THAT THE LECTURES SHALL BE UPON THE O O AND PR T OF N ( N N HIST RY , THE RY , AC ICE THE FI E ARTS MEA I G THEREB Y THE GRAPHIC AND PLASTIC ARTS) BY PERSON S OF DISTINCTION OR AU THO RITY ON THE SU BJECT ON WHICH T T O P FOR THEY LECTURE , SUCH LEC URES BE RIMARILY THE B N OF U D N OF N AND E EFIT THE ST E TS THE ART I STITUTE , F B N SECONDARILY OR MEM ERS AND OTHER PERSO S . THE

LE CTU RES ARE KNOWN AS THE SCAMMON LECTURES .

PREFACE HIS v olume is a report in shorthand o f the Scammon Lectures as I gave them at the C 1 20 A . hicago Art Institute , pril , 9 If, there o f fore, the book seems to be talked instead writ i s ten , it what I want , what I said, what I have learned, what I believe . It was inevitable, however, by this method, that there should be repetitions , and references to subj ects and slides shown at the lec tures which do not appear in the pages . I have referred to this in the Introduction , and also said to that I wished make the book in this fashion . I

o . have done s It is myself. And though talked in six hours , it has taken sixty years to get together . I hope students may be induced to believe as I do for I know if they do, they will not be led astray, as b ellowi n s m e c h an i they often are, by blatant g , by cal makeshifts , by the false prophets shrieking that anyone can be an artist , especially if he attend a correspondence college o r a get - rich - quick school run by these prophets or their friends ; and people who tell you that art can exist without craft — handicraft and the most skilled craft, are false prophets . I hope that the book may lead students back to the straight , hard , and narrow path from which in these last years they have so sadly strayed . I hope that it may prove to them that the Graphic Arts are as serious as any o f the other arts . I hope that it may show them or poi nt ou t to them the master o f G pieces the raphic Arts , and that without work, belief, and knowledge we can do nothing, despite the diffic ul t - o f y dodgers this artless, aimless , shiftless o f o f age, who are the curse the age, the hope the fo r lazy and the unfit, who look to art an easy living, ffi not as a most di cult profession . PREFACE I have spoken o f the crying need for a national o f department of art , a national school art , national i n o encouragement o f art . The politicians are too g rant to encourage art now, but they will when they are made to s ee it will pay .

It is the highbrows , the intellectuals , the ama teu rs who , and the uplifters have grabbed art in f o u r . o country They are afraid national art , fo r national art education , even they know that if ar t became a national factor they would lose their jobs — and rightly— o f teaching and preaching what they cannot practice . There are art schools that are taking up practical art and craft education , and there are artists who are teaching practically their trades , but many are doing harm to students , telling them how to make big money quick , and that is the aim of the people o f this country— ignorant that art i s the most fﬁ di cult and most underpaid profession in the world . i s I t , however, for money that the immigrant comes , and the American still exists here . They know no

o f . better, but art is dying thirst in a dry desert And we have n o graphic art and craft school properly equipped in the country . JO S E PH P E NN E L L TABLE OF CONTENTS PAGE LI ST OF ILLUSTRATIONS E RN MEN AND E RN ETHO S IN MOD MOD M D . TRODUCTION

I USTRA ION OO T IN AND OO LL T . W D CU T G W D E NGRAVING

I US RA ION O ERN E HO S LL T T . M D M T D THE E ERS ETCHING . TCH E HI N THE E HO S TC G . M T D

I H RA HY THE AR I S S L T OG P . T T

I HO RA HY THE E HO S L T G P . M T D I NDEX

LIST OF ILLUSTRATIONS

INTRODUCTION PAGE

’ TH E SCRI BE Headpzeee FIRST LECTURE

' TH E EARLY PRINTER AT WORK AT HI S PRESS Headpzece

O NU P B N NTU . PAGE FR M MA SCRI T BI LE , THIRTEE TH CE RY E NGLISH OP F OOD O I ST . N D N . CHRIST HER IRST W BL CK , PRI TE N 1 2 GERMA Y , 4 3 WOOD AND METAL PLATES AND TOOLS USE D I N E NGRAVI NG MODERN M ULTI PLE HOE PRI NTI NG PRESS

TH E R ON B TH E ART I N U o r O YERS LI RARY, STIT TE CHICAG HYPNE ROTOMACHIA (POLI PHI LI ) ALBRECHT DURER : AN ANGEL A PPEARI NG To JOACHIM

A S B AT O I U N ON O E N CRI E W RK . LL MI ATI FR M LEVE TH CE NTURY MANUSCRI PT O O N B S N PICC L MI I LI RARY, IE A REMBRANDT : DRAWI NG I N PE N AND WASH CLAUDE LORRAIN : PE N AND WASH DRAWING MINIATURE FROM EARLY MANUSCRI PT WILLIAM BLAKE : TH E M ORNING STARS SANG TOGETHER THOMAS BEWICK : TH E WOODCOCK E DWARD CALVERT : TH E PLOWMAN ADOLPH V ON ME NZ EL : TH E ROUND TABLE AT SANS SOUCI ” N F O ON RE O E . O : J . L . MEISS IER R M LES C TES M IS DANTE GABRIEL ROSSETTI : TH E PALACE OF ART

W HO N H UN : TH E D OF SHALOTT . LMA T LA Y FRE DERICK SANDYS : TH E OLD CHARTIST “ ” GE ORGE DU MAURIER : FROM PUNCH SI R JOHN E VERETT MILLAIS : TH E SOWER

A MCN : OW AND AR J . . . WHISTLER B L J ’ M N H O A C . T E U J . . WHISTLER : MAJ R S DA GHTER

A . B HOU ON : TH E O B . GHT T M S RANDOLPH CALDECOTT : TH E MAD DOG LORD LEIGHTON : SAMS ON CARRYI NG OFF TH E GATES “ ” SI R JOHN TE NNIEL : FROM ALICE I N WON DERLAND x i i LIST OF ILLUSTRATIONS

V O A ROUN OF BY I . E NG . LISH ILLAGE , FR M D DAYS G NO AND I W. PE NWELL . RTH CHARLES KEE NE : TH E UNRECOGNIZ ED VISITOR ’ O O : H OF F O O O TIM THY C LE EAD L RA , FR M B TTICELLI S “ ” SPRI NG OLD HAND PRESS SECOND LE CTURE

’ JAPANESE WOOD C UTTER AT WORK Headp z ece HIROSHIGE : TH E FALLI NG ROCKET JAPANESE PRI NTER AT WORK

P N O O N BIRD . JA A ESE C L R PRI T E DGAR WILS ON : FISH ’ “ N : I U ON FOR O R N E . MA ET LL STRATI P E S AVE WALTER CRANE COLOR PRI NT FOR BEAUTY AND TH E BEAST ” F O F OW W : S E . KE Y O . M RLEY LETCHER MEAD E T BL CK AND FINISHED PRI NT EMIL ORLIK : TH E SEAMSTRESS GUSTAVE BAUMANN : TH E LANDMARK

R : ND S OU AND ARTHUR ACKHAM CI ERELLA . ILH ETTES WASH WILLIAM NICHOLS ON : LONDON TYPES AUGUSTE LE PERE : NOTRE DAME ; LE SOIR

AL LOTON : TH E U F . V B RIAL ROCKWELL KENT : CAI N ’ NO FORTUNY : S U O DARI L L E R S OF MARIA T DY , FR M LIFE FORTUNY

MARTI N RICO : A VE NETIAN CANAL DANIEL VIERGE : TH E UNIVERSITY ROB ERT BLUM : JOE JEFFERS ON

A NN N : S W N . BRE A TAIR AY, CHA TILLY

ALFRED PARS ONS : TITLE - PAGE FROM SH E STOOPS To ” ON C QUER .

O TH E K O W. M RRIS : ELMSC TT CHAUCER HOWARD PYLE : TITLE AND ILLUSTRATI ON FROM ROBI N ” HOOD 0 0 . LIST OF ILLUSTRATIONS X I I I ’ WILLIAM M ORRIS PRI NTI NG SHOP AT HAMMERSMITH 93 “ ELIHU VEDDER : ILLUSTRATI ON FROM OMAR KHAYYAM 94

' J OSE PH SATTLER : DE R WUNDE R FAR BE R 97 A UBREY B EARDSLEY : ILLUSTRATI ON FOR MORTE ’ D ARTH UR

CARLOS SCHWAB E : COVER AND TITLE FOR LE REVE

R A NN N : TH E N - K . I G BELL JACK GIA T ILLER

A B F O : OUR CAT E RAT O ON . . R ST ATS P IS PHIL MAY : TH E PARS ON PAUL RE NOUARD : A P URVEYOR OF LIQUID REFRESH ME NTS FOR ANARCHISTS

O : TH E NU F. WALTER TAYL R RSE “ SU N : S O RE SART US E . J . LLIVA ART R

C B F : TH E E . . ALLS AGLE FRAN KLI N B OOTH : PE N DRAWI NG FOR NEWS PAPER ADV E R TI S E ME NT ADVERTISEME NT FROM J UGE ND

O P NN : S S O N J SE H PE ELL TEAM H VEL, PA AMA

T O : O O F. WALTER AYL R CHARC AL P RTRAIT M ODERN M ULTI PLE HOE PRI NTI NG PRESS OLD HAND PRESS FOR PRI NTI NG WOOD C UTS THIRD LECTURE

O : E AT O Head i ece A . B SSE TCHERS W RK p ALBRECHT DURER : TH E CANNON ’ REMBRANDT : TH E GOLD WEI GHER S FIELD REMBRANDT : TH E MOTHER WHISTLER : ANNIE HADE N REMBRANDT : CHRIST PRESE NTED T o TH E PE OPLE

A O : E AT O . B SSE TCHERS W RK

A VAN : F N U SN . DYCK RA CISC S YDERS

A O : TH E N AT O . B SSE PRI TER W RK THOMAS ROWLANDS ON : TH E SOFA M H N AND W. TU N : TH E UN ON OF T E S J . . R ER J CTI EVER THE WYE

F. O : TH E O TH E P G YA WITCHES , FR M CA RICES x i v LIST OF ILLUSTRATIONS ’ T N H N W U N : S . . E AND J . M . . T R ER CATHERI E S ILL TCHI G MEZ Z OTI NT 1 59

ME RYON : TH E O G H N U 1 60 C . C LLE E E RI Q ATRE OU H D N : SUN I N I ND F. SEYM R A E SET RELA 1 60

F S OU H N : KI LGARE N 1 6 . EYM R ADE CASTLE 3

F S OU H N : H ND E NG 1 6 . EYM R ADE A S TCHI 3

' U N : TH E R O 1 F. D VE ECK IALT 64

A M N : ON . C . 1 6 J . WHISTLER BLACK LI WHARF 4

A MCN : 1 1 J . . . WHISTLER WEARY 7 A M ANN H N I N N. : THE BIG A 1 . C H T 2 J . WHISTLER IE ADE 7

A MCN. : TH E OO W V N 1 J . . WHISTLER D R AY, E ICE 75 WHISTLER AT HI S PRESS 1 76 MARY CASSATT : MOTHER AND CHILD 1 79

U O : OUN N BO 1 F. B H T C TRY EIGH RS 80

A Z O N : O OF R N N 1 8 0 . R P RTRAIT E A ’ ’

A . PE . CATH EDRALE A N OU D INV E NTAI RE 1 8 LE RE D MIE S , J R 3 M UIRHEAD B ON E : ORVIETO 1 8 4 FRAN K BRANGWYN : ETCHI NG 1 84

’ THE ETCHER Ta i lpzece FOURTH LECTURE

' MATHEY : PORTRAIT OF FELI CI E N ROPS Headpzece

M NN : SO OUN E NG . LALA E FT GR D TCHI S

F ROPS : TH E E O . D VIL VER PARIS LOUIS LE GRAND : MATERNITY

LAEANN E : N D N P D M . PLATE PRI TE CLEA (LEFT) ; WI E WITH A TI NT (RIGHT) E N N D AND D B S U TCHI G PRESS DESIG E MA E Y MR . LEE T RGIS OF CHICAGO

RA ON : BRAC UE MOND TH E E P . J Q , TCHER FIFTH LECTUR E

HE NRI TOULOUSE - LAUTREC : TH E PRINTER Headpi ece FRANZ HANFSTAE NGL : PORTRAIT OF SE NEFELDER SAMUEL PROUT : TH E PUMP

TITLE - PAG E OF TH E GRAMMAR OF LITHOG RAPHY

F O : TH E U . G YA B LL FIGHT LIST OF ILLUSTR ATIONS x v

A R : IL S O N N I LS U N OU OU 2 2 6 . AFFET GR G AIE T MAIS S IVAIE T T J RS

: U DE LA O P N I N N 2 2 T. CHARLET TIRE RS C M AG IE FER ALE 9

R ON N ON : RUE DU O - HO O 2 0 . B I GT GR S RL GE 3

E I B : R U N T o O 9- . SA EY ET R P RT 3 3

U : RUE DU TRANS NONAI N 2 H . DA MIER 3 3

A GAV ARNI : E VI R E LO UE 2 . P RE Q 3 4

DE LACROI x : A ON OF TH E A 2 E . LI TLAS 3 5

FANTI N— LATOUR : SYMPHONY 23 5

FANTI N- LATOUR : ROSES

O Z H E D N A . V N ME N EL : T GAR E E DOUARD MANET : PORTRAIT DE FEMME

F ROPS : TH E E X P . LACE ERT

F ROPS : R N H E . EADI G T MISSAL HE NRI MARTI N : TH E VISION

A F N LE S . AVRE : O AURA "

H ST E I N L E N : 1 8 T . MARS

. FO N : TH E J . L RAI LETTER

MCN. : O OF O P NN A . J . WHISTLER P RTRAIT J SE H PE ELL

RO N N : O OF R AND W. THE STEI P RTRAIT CHARLES ICKETTS S NNON C . H . HA

F BRANGWY N : O . P RTERS M UIRHEAD B ONE : TH E SHI PYARD SPE NCER PRYSE : BELGI UM RO . N N ON : TH E C W. EVI S AD

U A F. U : TH E Sp H I Nx MARI S . BA ER

. B F : O C . ALLS P STER

O P NN : OO W ROU N J SE H PE ELL D R AY , E GE ORGE BELLOWS : TH E M URDER OF E DITH CAVELL TH E PRINTERS SIX TH LECTUR E LITHOGRAPHIC PRESS TH E BE GGARSTAFF BROTHERS : I RVI NG AS BECKET

R ANN N : S OO O . I G BELL CH L P STER

TH STE I NL E N : O . P STER JOSE PH PE NN ELL AT WORK ON A LITHOGRAPH xv i LIST OF ILLUSTRATIONS

O G W E G G : W N AND O P N GE R E . ERS DRA I G LITH GRA H PRI T FROM IT HANS UNG ER : HEAD ALLE N PHILBRICK : DRAWI NG ON PAPER AND PRI NT FROM IT TRANSFERRED TO STON E A UBREY BEARDSLEY : POSTER LITHOGRA PHIC PRESS

2 THE GRAPHIC ARTS the great traditions on which all great art i s founded ; r we cannot know whether we are advancing, whethe

r e - We S we are echoing the past, whether are tanding

or . still , whether we are degenerating There was one notable exception among these G A lecturers , who have taken the raphic rts as their

— on Outdoor subj ect the late F . Hopkinson Smith,

Sketchi n . . g Mr Smith was an able , practical expo

o f . . nent of this form art Mr Smith , however, o f treated only one phase a great subj ect . Mr . C E n ra vers a nd E tc/zen arrington treated another in g . ’ o f Mr . Smith s lectures were the result a life Carri n passed in practicing what he preached ; Mr . g ton ’s were made from the books and prints he has Studied . Both were valuable documents . I to wish, however, try to combine them , though to G I shall conﬁne myself modern raphic Art, to modern men and modern methods , especially to the men who have carried on the traditions o f the past o f and applied them to the methods the present . For it i s impossible 1n this world— or what was the

— r to world to c eate anything new, be original . We o n can only carry . But in every art and craft the on men who have carried are called inventors , creators , original , when they are only intelligent S tu dents o f the past who have advanced their art on e step in their o wn age by adapting the work of the w past to their o n needs . I wish also to include in G the raphic Arts only Drawing, Engraving, and u an d Printing, not all forms Of art , save Sc lpture A o n rchitecture, as Hamerton did in his great book G a i Arts The r ph c . Nor am I going into the history o f the Graphic Arts to any extent ; but there are great landmarks o T in the past that I must refer t . here is the wood INTR ODUCTION 3 cutting of the Japanese from which we have learned O r or C S much and must lea n much more, the hinese T from whom the Japanese learned everything . here G e n are the Old erman and Italian draughtsmen , o f ou r gravers , and printers , some whom are still masters and ou r inspiration ; some o f whom we have

n o t n or . surpassed , even approached Still , unless we have a knowledge o f those masters o f the past

and their methods , we can make no progress in the A present . nd it is these modern methods and the men who intelligently use them today that I wish to to discuss . I t is impossible for me to refer every eminent illustrator in these lectures — and still more impossible to include the work o f all t o whom I

have referred . I wish to thank the Trustees of the Art Insti tute for the honor they have done me by inviting me to S To deliver the cammon Lectures . thank the fﬁ o f Director, Mr . Eggers , and other o cials the Mc Gov ern Institute and especially Miss , who have so greatly aided me in preparing the illustrations

for the lectures , reproduced in this volume . In to fact , on this and other occasions , I have only thank everyone connected with the Institute with whom I have come in contact . And ﬁnally I only hope the lectures may be o f some beneﬁt t o the

S tudents . CH IC G APRI L 2 2 1 20 S E H E NN E L L A O , , 9 JO P P

’ A UTHOR S NOTE : A numb er of prin ts a nd drawings are referred to i n the text whi c h were shown as lan tern Slid es bu t ar e u l n h Man ar not p b ished i t e v olume . y of t h ese e i n t he Ryers on Lib a and the P i n t R m o f the In i u r ry r oo Art s t t te of C hi cago .

1 6 THE E P AT O AT HIS P CON PAGE ARLY RINTER W RK RESS . TEMPORARY WOOD CUT THE GRAPHIC ARTS ILLUSTRATION WOOD CUT TING AND WOOD ENGRAV ING FIRST LECTURE TUESDAY APRIL 6 1 920 T is stated that on e of the functions o f the Scammon Lectures is that they are primarily for I intended students , and if can address myself to you as students this afternoon — fo r we to are all students , and we must be the end of the 6 THE GRAPHIC ARTS chapter— I shall have succeeded in doing some

— thing something worth doing . One o f the previous lecturers in this series said o n one occasion that it was his duty never to be to s a ou t original , but to get everything he had y of T no t . books . I do believe in being original here is no such thing as originality in this world . The only thing we can do is to carry o n tradition . But when it comes to taking facts that I have to put b e o f diﬂi c u l t fore you out books , it is rather , because there are few books on the graphic arts , although all the work which I Shall refer to is printed , and h a the greater part of it s appeared in books . But about those books , or rather the illustrations in them , very little comparatively has been written ; written ,

who . that is , by the men made them Nor did most of the draughtsmen and engravers describe their methods of work . There are today endless ways of reproducing and printing illustrations . Artists seem to think that anything can be reproduced and printed without any training, without any technical knowledge , with o f or out any thought the chemical , photographic , i engrav ng and printing problems which are involved , I but n every print , in every book , when the results are

. A 1S n o t s ur not good , the artist is blamed nd this o f Am prising , because the artists erica mostly know nothing about the crafts ; yet the engravers know

a n d . little, the printers do not care , most of them This condition Of affairs has been brought about because of the lack of proper technical art schools in this country and a want o f interest in technique o n o f the part artists , and it is the want Of technical l schools which we must fi l . Until this Institute can do something besides teach the fine arts , so called , i t ILLUSTRATION 7 really will have done very little to advance the T i graphic arts . here s coming in this world a great i n war art, a war as great as the commercial war now upon us . We are going to have to fight in the immediate future not only o u r enemies but ou r

allies, and they are trained craftsmen , and unless we are prepared to take up nationally the teaching o f the graphic arts and the applied arts and the ou r industrial arts, our enemies and friends are for going to do our art work us , and this country IT artistically will be wiped C the face o f the earth . If we want a National Art we must have a National : A S rt chool , a National Department of Art , and a o f A o r Ar o f t . National Secretary rt , S top cackling I propose to Show what has been done in the past by Americans and what has been done by as for foreigners well , not only by Americans , though

I am proud to be an American , but scarcely proud of my country or o f most o f the inhabitants of it today, I do not believe that in art we are o f bounded by the limits the United States , by o r ignorance of other men and other methods , by any other limits . We must know what has been done in the past and in other lands in order to know how to do better work in the present , and in order to do that work we must be properly trained and prepared . But today conceited amateur ignorance covers this part o f the globe . A belief that we are the elect has blinded us . You may say, and several people have said, that the graphic arts are a very broad and a very S wide subj ect . ome writers have grouped among the graphic arts all arts except sculpture and archi o tecture . I am not s desirous of extending the ou borders ; in fact , I have not time, and y would 8 THE GRAPHIC ARTS not have time to listen to me if I made such a mis take as to do SO. All I want to talk to you about is what I think , what I know, are rightly considered T to be the graphic arts . hese are the arts of drawing, s engraving , and printing , in their variou forms , and these forms are very numerous , and if you students are going to practice them you cannot practice them ou t of your heads without technical knowl You edge . cannot use your imagination instead

' You of technical training . must have Skilled tech n i c al do training in order to your work, and today u You in this country yo cannot get it . must

. You become workmen may have genius , you may have ability, but i t will do you no good , unless ou y are practically trained craftsmen , and that you must be before you can do anything o f any ou value in the arts and crafts . If y have learned only to draw and paint you cannot express your selves in the graphic arts at all . You may get the results that yo u see in the newspapers and magazines— and those newspapers and most of the magazines and nearly all the books are a disgrace to o f im er fec civilization , because their technical p tions in illustration , engraving, and printing . I am not going into the history o f the graphic arts . I mean I am not going back to the very o f beginning things because I have not the time , and I Should bore you with inartistic facts and ﬁ artless gures . I only want to Show you what I consider, what I know, to be great art and good art , but talking and showing and listening will not make artists ou t Of you ; only hard work will do that . The graphic arts have been practiced from the very beginning of time . The Egyptians and the

P 1 2 OP . OOD B O P D AGE ST. CHRIST HER FIRST W L CK, RINTE IN RM 1 2 ND OOD N NOWN N 4 3 . A T T GE A Y, ARTIST W CU ER U K ILLUSTRATION 1 1 Assyrians were designing posters when they carved s o their reliefs . But these were explanatory that all could s ee and understand without legends and Slogans and s o durable that they have lasted till

today . Wall paintings and sculptured shrines were who books for those could not read , and no one

scarce could read . We who can read , thousands

o f . years after, marvel at them The ﬁrst persons who practiced what we know as the graphic arts were the scribes and illu mi n a tors I S , and here is an early print (Page ) how

ing one of those scribes at work . He is working

in a library, writing and illuminating a manu

script . Here IS a page from an illuminated manuscript (Page and there IS o n e thing about it I want to C poi nt ou t to you . William Morris and Walter rane and others who have written of the graphic arts have divided designs into two classes— decorative design N . ow as and realistic design , a matter of fact ,

what we today call decorative design , except the

borders of this missal , was pure realism . Decora

tion , what we call decoration , was realism in the a T past when it w s d one . his is proved by the work as Of the past , which the artists treated realistically T as they could . his I maintain despite William

Morris and Walter Crane . These illuminators and scribes wanted to multi so ply their designs , and in order to do someone nobody knows who— a t any rate I do not— con c ei v ed the idea o f taking a piece o f cherry or pear wood and drawing o n the side o f it and cutting all

- on o f the undrawn parts the wood away, leaving the

- design raised above the cut away portions, and

this was wood cutting . And when ink was rubbed 1 2 THE GRAPHIC ARTS o f on the raised parts the block, and paper placed on o n o f it , and pressed the ink, and the back the 0 5 T paper rubbed , an impression , a print , came . his C I O o f o f . block St hristopher (Page ) is one the ﬁrst , if

- o f . not the ﬁrst , the wood cut blocks I t was done , as ou s e e 1 2 . on e y , in 4 3 But it all was single, solid ‘ cu t wi th piece Of wood, drawing and text , a knife , and in order to print from it , the standing lines were o f on inked, and when a piece paper was pressed these standing lines the portions which were cut ou t did not receive ink, and when the paper was rubbed off o n on the back the design came it , and that was

. o f printing I have repeated this , but half you ’ H on . e won t remember owever, it was solid design , just as the work of the Japanese wood cutters i s no t today . But the scribes and wood cutters were T o f satisﬁed with that . hey next made books illustrations and text called block books , a block to a page, and bound them . But before I go on to the next step I want to of explain , as clearly as I can , the various forms print ing surfaces (Page Here is a wood block . The block originally was as high as the tops Of these points and was cut away with knife and chisel , leaving these points and ridges , which represent o n lines and dots drawn the block, standing in relief. The next form o f engraving was on metal . of In that, instead leaving the lines in relief, the engraver dug holes and pits and dots into the metal i n plate , leaving the intervening spaces standing o f stead cutting them away, as in the wood block . The ink was then rolled or dabbed on to the surface CIT of the metal , then cleaned it , the rest Of the rema1n1n I ink g n the holes and pits , and when a o f o f piece paper was put on the face the plate , n e z a o b w d u

<2) PAGE 1 2 WOOD AND METAL PLATES USED DR GRAVING . AWN BY JOSEPH PENN ELL

PAGE 1 9 MODERN MU LTIPLE H OE P RINTING P RESS N OF O THE RYE RSON LIB RARY . THE ART I STITUTE CHICAG ILLUSTRATION 1 5 ' rubbed or pressed with great force , the ink came T ou t o f the holes and adhered to the paper . hat is metal engraving . Another form of metal engraving was when the engraver made furrows in the metal , leaving the T upturned metal standing . hese upturned ridges held ink , which gave added richness and produced A what we called dry point . nother method was to o ff cut the raised metal , called burr , and leave the T clean sharp lines . hese were made with a graver , and such plates were metal engravings . Or the lines were Obtained by covering the plate with acid resisting varnish , drawing through that , and biting the exposed lines into the plate with acid , the same way as the engraver cut into the plates with his graver, and the lines bitten in were ﬁlled with ink, the " o ﬁ on surface cleaned , paper placed it , and under T pressure the ink came out of the lines . his is etching . ff Di erent tools are employed . On the wood block i the cutting knife s pulled toward you . The metal engraver held the graver in his hand and pushed it from him , drawing his lines with it . The dry point was made with a heavy steel point , with which the line was dug , while the etching needle is a

- sharp pointed instrument , the lines being drawn o f through the surface the varnished plate . T The third and last method is lithography . hat is surface printing , in which there is no relief or depression , but the work is done by chemical ﬁi on or a ni ty . The design is made a plate stone o f o r with greasy ink . The surface the plate stone T o n is dampened with water . hen ink is rolled it , which will adhere to the design only or to those parts which are not dampened , because water repels 1 6 THE GRAPHIC ARTS '

the ink , which is grease, from the undrawn spaces and

the ink is attracted to the greasy drawing . When a piece of paper i s placed on the plate the inked

design comes OfI on the paper . Lithography is the simplest and most abused Of all the graphic o arts and is the most wonderful . I shall g into a detailed description o f these technical methods

later, but I want you to understand at the begin

ning the three ways in which prints are made . f C Very soon after the wood block o St . hristo

pher had been done, someone conceived the idea of cutting up the blocks and cutting each letter o f o f ff separately, and then making casts the di er T ent letters . hese were cut in metal and casts

made o f each letter . There is on e thing you will have noticed about u these c ts Of craftsmen , and that is the shops in n which they work . I am o t a believer in uplift and all that kind o f thing ; bu t I am a believer in a H person having a decent place to work in . ere is

another workman working at his trade, printing . (See headpiece to Lecture This is the original form o f press on which the most beautiful books Of T o f the past were printed . his form press is used

today, for in all the graphic arts we have made

comparatively little but mechanical improvement , except notably in the application of steam and electricity and the increase o f rate o f production ; in

beauty and perfection Of workmanship , none at all . Two o f these presses Stand in the Plantin Museum A o f God i n in ntwerp , which by the grace was not jured in the cursed bomb ardments o f the cursed

war, and instead Of a union notice , there is over o f V see them the ﬁgure the irgin . You can the o n bed which the type is placed, and when it is

N PP N TO PAGE 2 3 ALB RECHT DU RER : AN A GEL A EARI G C I WOOD C T FR OM TH F OF TH VI R IN JOA H M. U E LI E E G ILLUSTRATION 1 9 on put there and inked and paper laid it , the lever or is pulled and the impression is made, the tympan cover is raised and the paper lifted Off with the impression on i t, and it was in this way that all the early books were printed . All the work was done by hand . T A his is an merican press, used today for fast printing (Page I The cut shows what has been done in the development of presses . The modern power press is an almost human machine that you ou en rav students , if y wish to be illustrators , g ers , and printers , must learn something about , and you must have o n e in the school and learn a to print on it . I t is most fascinating to be llowed ou to work o n o ne o f these machines . But unless y get proper school equipment and machinery you cannot do anything intelligently and practically .

We must have properly equipped schools , as they G have in Europe . In England and ermany , instead

Of studying only painting and sculpture , in which S arts you will probably never succeed , you tudents to can be taught how run a machine Of that sort , how to print and do something useful . And when S u a t dent has learned a craft , like printing , he has learned something which is very practical , something which very few printers in this country understand themselves . Yet printing is on e o f the most widely Of used the arts . All those early books were printed on the tiny o f hand presses , and the most beautiful examples printing in the world were done on them . T H ner otoma chi a his is a page from the yp , printed in 1 499 in Venice (Page You have never seen

anywhere at any time a more beautiful page . The illustration signed with b is by some attributed to 20 THE GRAPHIC ARTS s a i s Of Botticelli . Other authorities y it the initial ’ the engraver s name . And all through the book are equally beautiful designs , while the type and the arrangement o n the page are as perfect as anything in printing . There Is one thing I want to point ou t to you the transition from the Old illumination to the new N o f printed page . ote the little initial , a sort key SO note put there , the illuminator, who at that time had not gone out of business , should add beauty to the decoration o f the page by drawing in the initial letter over it ; and that scheme was carried on for he many years , until t printers learned how to print letters in color, usually in two colors , blue and red . The blocks from which these initial letters were printed are preserved in the Mainz Gutenberg

T - Museum . hey are made like a j ig saw puzzle and ﬁtted together after one had been inked in blue and the other in red and set in the form with the type and then all pulled together . These wonderful books are bound in mos t gor eou s o f g covers , Often gold and metal , with j ewels and wonderful enamels inlaid , and they were placed in the i o f most imposing Shrines . There s one these shrines C o f S in the Piccolomini Library, in the athedral iena R a (Page ound the walls are missals , while bove on the walls are paintings by Pi n turec c hi o . Another beautiful library is at the Escorial near Madrid , and the most interesting feature about that library i s that of the books , instead being placed with their backs toward the spectator, are all put in the cases the other way, with the edges all gilded, outward , and the title is written in the corner in black . You cannot imagine a more splendid gallery than that W onderful library in the Escorial . I t is a golden U N T ON O E NT — N U A SCRIB E AT WO RK . ILL MI A I FR M ELEV H CE T RY NU P X ON B O MA SCRI T , CA T CLU , CHICAG 20 O OM I L PAGE PICC L IN IBRARY, SIENA ILLUSTRATION 23 o f glory . I know no library to approach it , a solid o f glitter gold round the lower part , the great paint ings above ; and it i s that sort o f thing that we must

work for again , to get the architect , the painter, and the craftsman again working together to make

a thing of beauty like this library . The man who really started book illustration D T was Albrecht urer . here are most wonderful examples o f his work in the Apocalypse and the Passion in the Buckingham Collection in the Art In s ti tu t e Print Room (Page He published his

prints and books , among them an alphabet . He no t only drew and engraved them and printed them , o r Of but sold them , , rather, he made use his wife to

- take them out and sell them in the market place , ’ and m his 7 01177 1 63 1 3 to the Netb erla nas a nd I taly he gives most amusing and most human accounts o f

his experiences and adventures . H Another great illustrator was olbein . He made o f a series of designs for a Dance Death , which

were copied and imitated all over Europe , for there

were thieves and imitators in those days . His metal

engravings of decorative obj ects are very perfect .

Here we have a caricature of the time o f Dii r er . I regret to s ay that in this country at the present

time we have no trained craftsmen , and so have no o n trained cartoonists , or much of the work which

we have been brought up would never be printed .

I am afraid a caricature Of this sort , if such a carica T ture were published today, would raise a row . here

was a row then , and that was intended, and it made

a very big row . Now the person caricatured enjoys

it ; then the caricaturist was a person to be feared . If these artists wished t o draw as they wanted o f to draw, without thought the wood cutter and 24 THE GRAPHIC ARTS o f r e printer, they had no way having their drawings H produced , except by engraving . ere is an example , ou was y might think it done by someone today, a drawing by Rembrandt (Page 2 about as modern as anything you could ﬁnd and a Splendid example no o f technique . But there was way by which Rem brandt could have it reproduced, and he consequently was forced to make etchings , which could not be printed with type and cannot even n ow . Of these ” x The Descent from the Cross is a splendid e ample . C a laude Lorrain , a few ye rs later, was a great o f draughtsman . I do not know any artist today who could make a more u p— to - date pen drawing than this

2 6 - u (Page ) , which was done by the seventeenth cent ry F renchman , who passed so many and such busy years

R . in ome He too was forced to etch , and he etched F r o f . o vilely, despite the opinion critics his own pleasure, however, he made endless pen and wash Li ber Ver i tati s drawings in his , but these were not reproduced till the last century in mezzotint . The C a o drawing is like a orot done three hundred years g , but at that time there was no possible way o f repro i n duc g it . T Rubens also illustrated . his design was not R engraved by ubens himself, and there is nothing o f R ubens left in it , for the engraver copied it T stupidly . hese drawings by Rubens were issued and published from the great Plantin printing shop . Printing offices today are filled with typewriters and stenographers and that sort Of thing ; then they were filled with beauty ; and if you go into a proof readers ’ room now you usually see through the window the rapidly moving surface car or elevated ’ s ee train . But in that room at Plantin s you can on with what delight a man could work , looking a

AND D PAGE 24 CLAUDE LORR AIN : PEN WASH RAWING

R COL » M D D . INIATU RE FROM EARLY MANUSCRIPT. E WAR E AYE O O LECTI N . CHICAG PAGE 29 WILLIAM B LAKE : THE MORNI NG STARS SAN G “ ” O . OM OO OF B D B T GETHER FR THE B K JO . ETCHE OR DE R V D D N IN , ENGRA E ESIG THE CENTER N AND OD O . D TH M S B WI C : TH WO RAW P 3 0 O A E K E C CK “ AGE O HISTO Y OF B I . M R E N GRAVE D ON WOOD BY EW CK FR THE " BRITI SH BIRDS

N AND N . D : TH E O M PAGE 3 3 E DWAR D CALVERT PL W A RAW ENGRAVED ON WOOD BY CALVE RT ILLUSTRATION 29 was n o quiet garden , and it doubt for that reason to they had time design , print , and produce the books they did . The Plantin family were book sellers too , and lived in the works surrounding a

ﬂowering, arcaded , quiet courtyard , and were not N ashamed . O doubt in the evening they and their workmen drank together in the courtyard ; n o w we have stopped that , and mostly stopped good work ’ in conseq uence . After the Plantins great days , there was scarcely any good engraving and printing done in Europe and none over here .

The next man of power was William Blake , and hi s Blake , like all predecessors , was a trained crafts H o f man . ere is one his books , a most wonderful Baa/e o ob o u book , the f y (Page which y will ﬁnd in

o f . the library , or , rather , a reproduction it In this design and in all hi s other designs he combined two

— methods the design itself was etched or engraved , and below in the text he used another method , n i really a new o e in ts way . The legend was written by Blake o n the metal plate with some sort Of

- acid resisting varnish made up like ink , and he bit both parts at the same time and did something ’ which was more or less original . Blake s works o f are among the greatest masterpieces . Finally they were colored by his wife , wives then having something more to do than vote and play tennis . Another artist who appeared about the same T time as Blake was homas Bewick , also an English man , and he had an idea that he could adopt and adapt the methods and tools of metal engraving to i s o f wood , that , instead using metal plates on which to engrave his designs he could engrave them on wood , using the graver to cut the white lines in o n the block, engraving the design in white lines the 3 0 THE GRAPHIC ARTS

- x T n rav cross section of a piece Of bo wood . his e g ing o f a bird (Page 2 8) is from on e o f his numerous Hi stor o Br i ti sh Bi rds en rav books , his y f , and in the g ing you s ee in a certain primitive kind of way the great skill that the man had to produce and to own no t reproduce his design , for he was only the engraver but the artist and the designer as well , and that is what all great artists and engravers have T to been . hey have been trained do , and they have

own own . done, all their work with their hands The face o f the block was blackened and Bewick drew the bird with his graver in white lines, cutting the design into the wood, and it printed as i t looked on the block . Metal engraving died hard ; many artists during H the middle Of the last century employed it . ere i s a design by Turner, probably from a water color, which was copied laboriously o n to a plate o f steel ’ r r ers a l o coppe and published in Rog I t y . But metal engraving died ou t as a method o f illustrating two books because, as I have said, it required presses , on e for the illustration , another for the text ; and A gradually wood engraving superseded it . fter Bewick had shown the way there arose a school of H o f B . i men and women , pupils ewick ere s the o f on e o f o f work them , an enlargement a part Of a H design by Benj amin Robert aydon , engraved by on William Harvey, and this was engraved wood and printed with type , though it is a deliberate imitation o f a metal engraving . And that is the reason why wood engraving superseded work in metal , which required one press for the letterpress and another for the prints .

Blake also tried his hand at wood engraving, and I cannot s ay that he made a very great success 3 . V ON PAGE 4 A MENZEL : THE R OU ND TABLE AT SAN S O S UCI. WOOD ENGRAVING FROM THE HISTO RY OF FRED 1 8 ERICK THE GREAT, 44 ON R E O . M O : OM M . . IS NI FR S C T S S PAGE 3 4 J . L E E S ER LE E I 1 8 6 1 WOOD ENGRAVIN G BY LEVEILLE ,

3 4 TH E GRAPHIC ARTS I i e o Fr eder i ck the Gr ea t L f f , but Menzel illustrated many books during his long life . He is the creator o f modern illustration . Menzel told me that al though it was the hardest work in the world it was the most delightful , a positive proof that this great artist found nothing too big or too little to which to devote his genius . Look at the character in the tiny heads of Frederick and Voltaire and the others ff around the table , the e ect of moonlight (Page and in the other design the rendering o f the retreat

— T in the snow they are great art . here are hun dreds o f other ﬁne designs in the book . Another man who about the same time was working in France was Meissonier . His illustra tions to L es Centes Rémoi s (Page 3 2 ) will make Meis sonier live long after his paintings are forgotten . The names of Meissonier ’s engravers were Lavoi ’ V gnat and Leveille , and Menzel s Bentworth , ogel , m a n and Unz el n . to The art then came back England , and that happened in this way . When Menzel had issued his L ife of Fr eder i ck the Gr eat the English en

- graver Dalziel Showed it to the pre Raphaelites, and

Rossetti made this design , which Dalziel engraved ’ for William Allingham s Mus i c Ma ster Every o n e o f these artists took their illustrations just as seriously as they took their paintings , as this o n e o f study in pen and ink proves , and here is ’ the illustrations by Rossetti for Moxo n s edition o f T 1 8 ennyson , the great illustrated edition , 57 , (Page 3 5) the greatest book o f the fifties published ’ in England . I t contained Rossetti s design for the “ A o f r t . Palace He , however , was never satisfied , and no artist was ever completely satisfied with

I me L e a n d Times o Fr eder i ck the Secon d Ki n Pr ussi a if f , g qf . P B AGE 3 4 DANTE GA RIEL R OSSETTI : THE PALACE OF ART. ’ O MOX ON S D ON OF NN ON 1 8 5 7 . OOD EN FR M E ITI TE YS , W GM V ING BY DALZIEL B ROTHERS O D OF SHAL OTT . PAGE 3 7 HOLMAN HUNT : THE LA Y FR M ’ D ON OOD E NN ON 1 8 5 7 . E MOX ON S E DITION OF T YS , NGRAVE W BY DALZIEL BROTHERS ILLUSTRATION 3 7

wood engravings after his designs , but they are all

we have . Rossetti even expressed his feelings in verse

0 woo man a e t at bloc k d , sp r h

Or cu t not anyh ow. It t oo k t en a b cloc k d ys y ,

I fai n would s av e i t now.

’ Look at this design o f Holman Hunt s . Nothing that he ever painted approached the Lady of ” Sh alo t t in the same volume (Page Every line

o f o f . is full meaning, full grace and beauty Look s h e at the loom and the room in which was working . See how the circle o f the loom is repeated in the

windows and note the grace of the figure . I t is n o e o f the most beautiful examples o f British art . There are other illustrations in the volume by o f Millais which are fine, but most the rest are Of little merit . o f A greater man than any these illustrators , a greater technician , was Frederick Sandys , and this is ’ an illustration to on e o f George ~ Mer edi th s poems “ ” The C Old hartist , which appeared in a sixpenny Once a Week 1 8 or 1 8 60 magazine , , in 5 9 (Page ’ Can you find anything o f that sort in the La di es Home ? T year nai Both were issued for the people . hat was the sort o f thing our fathers were brought up

to, and what are we being brought down to by the business man in art who knows what the people like and gives it to them SO long as he can ﬁll his pockets to overﬂowing

John Millais made many designs , among them a of bl es series illustrations to The Para . Look at this ” on e o f The Sower (Page I know o f nothing o f or better in the art illustration engraving, and 3 8 TH E GRAPHIC ARTS yet it is just a design made for a page illustration Good Words in , another popular paper, but where can you ﬁnd a ﬁner study o f a hillside than that ? There is nothing better in paint by Millais

- or any other o f the pre Raphaelites . He did not conﬁne himself to one particular sort of work ; it was ’ all in his day s work . As Whistler said , A man who cannot draw everything cannot draw any ” thing . Ple ase remember that Millais Showed in to T this illustration rollope , engraved by Joseph

Swain , that the crinoline was beautiful . Everything i n u . the world but billboards is bea tiful if you can ’ s ee i t— and but they are damnable , you can t help seeing them . o f men on e Fred Walker was one the younger , of the great artists of England in the Sixties , and was G o f that period . called the olden Age English o f ou Ol Illustration . If any y can ﬁnd any d volumes

1 860 — 0 o f Once a Week or of the ﬁrst ten years ( 7 ) , Good Words o r The Cor nhi ll , , you will have some f good examples O the graphic art Of that time . Fred Walker made mo s t of the illustrations for Thack ’ er a s y books , after the author had been compelled to admit he had failed as an illustrator . G Du eorge Maurier began as an artist . His early drawings were full Of detail and elaboration and

ﬁne as anything that has been done , yet renderings of h fou n the maligned Victorians (Page But e . d the hi s people did not come up to level , so he got down to theirs and degenerated into a popular - mannered o f hack , the idol the altruistic and the literary . Whistler also found himself among the illus

tr a tors . 1 This print (Page 4 ) is all we have , but it is enough to Show hi s technique and how absolutely he o f mastered all sorts media . This is a design for a 3 D ND : OLD R PAGE 7 FRE ERICK SA YS THE CHARTIST . F OM ON CE W K N D B A EE . E GRAVE Y DALZIEL B R OTHERS

P 3 8 O DU M U : O PU N WOOD EN AGE GE RGE A RIER FR M CH . GRAVI NG BY JOSEPH SWAIN OW R . O PAGE 3 7 SIR JOHN EVERE TT MILLAIS : THE S E FR M THE OD BY D B O PARABLE SL EN GRAVED ON WO ALZIEL R THERS

’ O E R : THE M O D . M MCN. PAGE 4 3 J . A . WHISTL AJ R S AUGHTER FR R “ ” OOD E R N D O E ONCE A WE E K. W NG AVI G BY ALZIEL BR TH S ILLUSTRATION 43 Ca talogue o f Blue an d White NankinPorcelain T belonging to Sir Henry hompson , which Whistler

illustrated . All the designs were drawn in sepia or ’ blue and reproduced photographically . I don t think you can ﬁnd anything in Japanese art more perfect

T . T than that bowl and j ar . hey are perfect here is on e o f not single bit work which is not perfect , and it is on e of the great examples of modern illustra T o f tion . here is not a bit shadow or tone ; it is all

pure drawing , and it expresses everything about the

Obj ects . was The other design , which made on a wood block by Whistler (Page Shows exactly the way in which h e worked with a pencil and pen on the

. T o r a block here are four ﬁve drawings , not engr ved, by him now in the Library of Congress in Washing 11 0 . ton , soon to be exhibition One o f the great developments in illustration o f Gr a hi c was the publication the London p , which 1 i was started in 8 69. This drawing s by a man 13 named W . M . Ridley , who scarcely known , bu t if all his drawings could only be published again a today he would be known s a very great arti st . To o f The Gr a hi c Herk om er the early numbers p , ,

ildes G - k n owri Luke F , regory, and many other well artists contributed drawings which made their

reputations . H who Another artist , Arthur Boyd oughton , for The Gra hi c also worked p , came over to America in 1 8 69 and made a series Of s tu d1es all over the coun r rn a T try fo the j ou l . This (Page 45) is in the ombs in

New York . See the way he has given that white i t washed wall , with the ﬁgures agai nst , getting u color o t of pure white paper . He was justly regarded as on e of the greatest artists o f half a 44 THE GRAPHIC ARTS

- A century ago . He also illustrated many books . n edition o f the d ra hi a n Nights i s his best - known T work . his was engraved and published by the

Dalz i els .

was Another James Mahoney, who illustrated Sc a mhi es a mon the Al s a his r g p , cont ining finest de signs engraved i n extraordinary fashion by Edward Of Whymper, the author the book . ’ Pla u Frederick Shields illustrated Defoe s g e . How faithfully and intelligently he has s tIi di ed Rembrandt and adapted him to his own needs "As fine in composition and light and Shade as a Rem brandt , yet only an illustration in a sixpenny book . G reater probably than all , because he was C so . simple and direct, was Randolph aldecott Nothing could be more Simple than this mad dog on e e ou t (Page if one line , touch , w re left , there would be no dog . Caldecott did a great deal to de v elo w p color printing in England , orking on his toy o n books , which were engraved wood and printed in color by Edmund Evans . One thing that happened at this time was the relief Of the artist from the drudgery Of drawing o n o f on the block . Every e the engravings I have on shown you was first drawn the wood block , an d o f every one them cut to pieces , and the artist had no redress whatever if the engraver spoiled the drawing in engraving . But someone, somewhere, 1 8 o f about 75 , conceived the idea photographing the drawing made on paper on to the wood and engraving it . The consequence was that the draw was ing preserved , and if it was a portrait of a place on the artist did not have to reverse it the wood . I f the engraver went wrong he could no t blame the artist, as he did before ; the engraver got the blame, P 4 3 . . OU ON : M AGE A B H GHT THE TOMB S . FR O THE P ” 1 W , 8 6 9 . OOD N R V N E N U N GRA HIC E G A I G, GRAVER KNOWN P O AGE 44 RANDOLPH CALDE COT T: THE DOG . FR M CALDE COTT ’S RE OO N D ON OOD PICTU B KS . E GRAVE W BY EDMUND E VAN S P 9 O D AGE 4 L R LEIGHTON : SAMSON CARRYING OFF THE ’ “ ” . OM DALZ IE LS B B W GATES FR I LE GALLERY . OOD EN GRAVIN G BY DALZ IEL B ROTHERS

4 9 O N : O OND N PAGE SIR J HN TEN IEL FR M ALICE IN W ERLA D . ENGR AVED BY JOSEPH SWAIN ” IS V FRO O ND OF D S . . P N ENGL H ILLAGE . M A R U AY BY G I E ER E D BY D L E O H OR . WELL AND I . W . N TH NGRAVE A ZI L BR T S

5 0 THE GRAPHIC ARTS of 1 8 80 1 0 0 magazines the years between and 9 , and the greatest o f wood engravers were Americans .

Timothy Cole is regarded as a master - engraver ; C ’ so were Henry Wolf and Jungling . ole s prints he Centur Ma az i ou were published in T y g ne. If y want to know something about the arts Of illus ra tion The Centur Ma a t and engraving, look over y g ’ ’ z i ne Har er s Scr i bner s , p and , and see what was 1 0 1 0 0 done then in the graphic arts from 8 8 to 9 .

We have had during the last half- century some o f o f t en r av the greatest designers , some the greates g ers , and the greatest printers , and the greatest art A o f . C editors modern times bbey, ole , De Vinne , Drake— how many o f you know their names ? And their work appeared in the pages o f those

' magazines . The magazines are still being pub li shed no t ou , but I do think y will ﬁnd in any num ber today any wood cut o r wood engraving like this by Abbey or the engraving by Cole (Page In the next lecture I shall show you how we have gone forward and gone backward , but at that time there issued a series o f masterpieces from those to magazines, and it is your duty as students study them and to study the illustrated books that I have shown you . Will you I doubt it . ’ Abbey made hi s name by illustrating Herr i ck s ems o f Po . You can ﬁnd any number faults in this design , yet it made a sensation at that time . But A o n o f bbey went and on , and some the designs in that edition o f Herrick are among the best things that he did . They were all drawn for the wood o f engraver, and probably some the earliest were o n drawn the wood block .

I have brought you up to the present, and I think to I have proved you that in the past, in the graphic 4 9 E N : O N E D O OM PAGE CHARL S KEE E THE UNREC G IZ VISIT R . FR “ P ” 1 8 6 6 UNCH , JULY, D OF O O B OTTIo PAGE 5 0 TIMOTHY COLE : HEA FL RA , FR M ’ “ N ’ WOOD N R O O CE LLI S SP RING . E GRAVING F M C LE S ITALIA MASTE R S” ILLUSTRATION 5 3 w as arts , there great work done , but in the present , was in certain places , equally great work done till the war ; but little that is good is now being done in or an ou this country y country , and it is up to y students to study and to practice and demand to be to taught how to do it , and then to go work and do something better than the work o f the past . Will ou ? y You have the chance , even to convert the editors and engravers and printers again to do good ou work , but y must put your hearts and your hands your properly trained and skilled hands — into your work, or America artistically is doomed . The future ou o n r is in your hands . Will y carry tradition o go down In the mad race for money — a race in which the runners are drawing n ear the goal ? Americans are about two laps behind the leaders , and we too too are too blind, too stupid , lazy , conceited , r o f to know what the est the world knows .

OLD HAND P RESS

O JAPANESE WOOD CU TTER AT WO RK . FR M P RINT IN THE ART IN STITUTE OF CHICAGO THE GRAPHIC ARTS ILLUSTRATION MODER N METH ODS SE C OND LE CTUR E THUR SDAY APR IL 8 1 92 0 N the ﬁrst lecture I tried to tell you something

about the beginnings of illustration . I want to

speak today of its modern developments . But s a before I do , I would like to y that , if there is ou any statement I make that y do not understand , o r I wish you would ask me about it , write me , and

I will try to make my meaning clear . But no or matter how much I talk, what I say , unless you

are willing to do your part and look things up , and

— then work with the facts you have acquired well , ’ or do I don t think you will learn very much , any of thing much importance, for without the hardest 5 6 THE GRAPHIC ARTS work you will never do anything of the least impor ‘ tance in art at all . T here is another sort Of work , another phase Of o f art , which has been made great and good use

' an d th a t during the last years by illustrators , is the

— work o f the Japanese the Japanese color print . i n I t is the custom today this country, and in

European countries , to make much of the Japanese color print . The Japanese color print was never appreciated in Japan by any but the people, any more than the illustrations in the books Of yesterday were appreciated by any of the artists of this country , and it i s only because a few European artists s aw the r beauty Of the wo ks of Hiroshige , Hokusai , Utamaro , and other great artists , that the Japanese them selves began to ﬁnd they were beautiful . Here the people do not yet appreciate what we have done in illustration . The Japanese illustrators were Very little better appreciated than the pavement artists who used to decorate ou r streets before we got bill

Stickers to do our decoration , but there was in Japa nese work wonderful charm and wonderful technique .

So there was in American illustration . Prints by

Hokusai , in black and white, are perfect as models of f r design o printing . It was in prints like these that aw Whistler found his Nocturnes . He said when he s ’ Hi ro shige s Falling Rocket (Page it gave him fo r the idea the Nocturnes , and he , inspired by that print, made his paintings and his drawings after the

Japanese fashion , only carrying out the traditions of the East in the West . But the Eastern print has been of great value to the Western illustrator in m any other ways , as

1 Not a e d a m a r o m a e his singl stu ent eve r sked e question o wr te e lin . T is e a e ca e e de k o e e e tr to do so e n univ rs l in Am ri wh r stu nts n w v rything until th y y m thi g ,

e e ﬁnd e do not o a and e wh l ne . wh n th y th y kn w nything , th n

O U O JAPANESE PRINTE R AT WO RK. FR M ILL STRATI N IN BOOK IN THE ART INSTITUTE OF CHICAGO ILLUSTR ATION 5 9

the color print in line , in form , and above all , in o f method, is the simplest and most direct way making a printing surface that we know, and a great deal that we now know and a great many o f the improvements in engraving and printing that have been made are due to the Japanese . Take this study o f a bird (Page Nothing A could be more Simple and more direct . nd yet it probably was used in the most commonplace of h as i n s i books , or as a Single print , but it been an p ration to many Europeans . And here is an example o f it in the work of an Englishman , Edgar Wilson

(Page who , following the Japanese methods o f and using the pen at the same time, instead drawing with the brush o n the wood block in which t on the design was afterward cut and prin ed , carried the tradition o f Japanese art in ou r way and by our Br ac u em on R am . d e technique q , Felix g y, and many other European decorators owe an endless debt to

Japan . They are by no means alone ; here is another You man who used the Japanese formula . can o f o f ﬁnd in some the Sketch books Hokusai , and o f other Japanese masters , drawings birds like this .

Yet this design was reproduced on the title - page o f ’ Ra n a French edition of Poe s ve . I t is by Manet (Page a proof that as soon as Europeans s aw o f Japanese prints , they took advantage Japanese methods . The Japanese artists have also shown the world 1 n their prints the way in which the work 13 was done . Here a wood cutter at work holding l n his knife vertically his hands, cutting the design on the block (Page I do not know the date o f of this print or the name the artist , but this is the traditional system , and it is because the 6 0 THE GRAPHIC ARTS Japanese artists follow tradition that their work is n o t good, and we have in any way been able to

1mprov e on 1 t .

Anyone who wants to make a color print , instead Oil Of commencing by making a very bad painting, or a worthless water color, should commence by mak ing a drawing in black and white ; that is the basis Of the whole system— that is the way the Japanese commence . When they have made their design o n o n paper in black and white , they paste it down a wood block , and the engraver cuts through the paper into the block , cutting the design all to i s . pieces , as that man doing with his knife When that was done the next thing was to put on the color, a and instead of m king , as the European artist usually o r does , a very bad Oil painting a worthless water color and trying to copy that by lithography or color process , they cut as many blocks as colors , o n e mix the colors themselves and put them on ,

o n e . after the other, color from one block I t is to utterly impossible get color by any other method . Nearly all our books and magazines today are “ illustrated by what is known as the three — color ” s ee on o process . You can the result the cover f every magazine, almost , that comes out , and the only difference between them i s that sometimes T o ne is rather worse than the others . hey are nearly all devoid of every merit , and they are all T the most popular in the American world . hey are mechanical photographic travesties of artless , worthless paintings mostly . ' diﬁeren t The Japanese have an entirely method , i to ou and that now s beginning be carried t here . But you students must be properly trained tech n i c ally before you can do the work decently . There 5 9 B D P PAGE IR . JA ANESE COLO R P RINT IN THE ART INSTITUTE OF CHICAGO PEN AND D DO PAGE 5 9 EDGAR WILSON : FISH . INK RAWING NE WITH JAPANE SE FEE LING ON PO ’ V N ILLUSTRATI E S RA E . DRAWN IN JAPANESE FASHION WITH B RUSH AND INK O P N FOR B P 6 5 WA T CR N : O I T A T AGE L ER A E C L R R E U DY N D AND P N D BY D AND TH E B EAST . E GRAVE RI TE E MUN EVAN S

O W . KE Y F O F TC : M DOW S T PAGE 6 5 . M RLEY LE HER EA EE BL CK AND FINISHED P RINT

6 6 THE GRAPHIC ARTS on e many others cut as there were colors , and was o n Of printed after the other, not top each other,

S . but Side by ide, as a mosaic is made And it is in

o oo this way alone th a t g d color work can be done .

Yet such printing can be done on a steam press , and can be done very rapidly, though the best work is , and always will be, done by hand . Here in Chicago you had a very interesting H woman , elen Hyde, who died recently, and whose to work is going be Shown , I believe, shortly in the

M . useum Her work technically was brilliant , but a great many o f her subj ects were frankly imitative o f the Japanese in subj ect as well as technique . There i s no earthly reason why those of you who care for drawing and for color should not carry

ou t . this scheme of color printing But , as I will on Show you in the talk Lithography, there are Of Simpler ways doing color work, and even men like Morley Fletcher and other color printers are giving up using wood blocks , and beginning the use o f S tone and metal plates instead, because the work can be done in a simpler manner than by the slow and elaborate cutting of each block . Yet the grain of the wood gives a most interesting

s o . quality, and does hand printing Emil Orlik (Page 67) has carried ou t the same scheme o f color printing . He holds the same posi on o f G tion the continent Europe, in ermany and Austria— or did before the war — that Morley Fletcher has l n England . Scarcely any Of the work o f these men is known well over here , but it deserves to be You well known . can ﬁnd some examples o f it in o the Ryerson Library, m stly in reproductions in the i ou Stud o. fo r c And if y care anything olor printing, it is your duty to study the books which contain it . O O O I T PAGE 6 6 EMIL O RLIK : THE SEAMSTRESS . C L R BL CK PR N IN THE ART IN STITUTE OF CHICAGO 1 B U M NN : NDMA O O O PAGE 7 GUSTAVE A A THE LA RK . C L R BL CK PRINT IN THE ART IN STITU TE OF CHICAGO P 1 U RA M : ND OU TTE AGE 7 ARTH R CKHA CI ERELLA . SILH E S W R P ODU D B P B AND Y O . . PP N O CO . ASH E R CE R CESS , J LI I C TT OOD O : O DO P . PAGE 7 2 WILLIAM NICHOLS N L N N TY ES W N D O BLO CK R EPR ODUCED AND P RI TE BY LITH GRAPHY ILLUSTRATION 7 1 ’ You should also read Morley Fletcher s treatise o n color printing .

Mr . B aumann , who has been living until recently C in hicago , also makes color prints (Page He has found that the landscape of America i s just as o f well adapted to the color print as that Europe , and the proof o f the fact that a man i s an artist i s the fact that he can ﬁnd beauty and ﬁnd subj ects ou t o f around him , and then make something what

. s o Y . he ﬁnds . Mr Ruzicka has done in New ork There is no necessity for harking back to the past A I ou . nd ages can assure y , although I have not had the experience, but I know from what I have seen , that it is a great deal easier to invent a Heavenly Host than it is to make a good print o u t

Of a Kansas farm . ou t Now , showing how this work can be carried and I said it could be done by means o f the steam press and mechanical appliances — a good example is in the work o f Arthur Rackham (Page He has adapted the methods of the Japanese to photo engraving and mechanical engraving . His designs are made with a pen , in black and white . The colors are selected by Rackham and given to the photo o n engravers , who put them j ust where he wants them . But Rackham is a trained craftsman and h As knows what colors to use and how to u s e t em . I said in the last talk , you have to Stand over the printers , you have to make them work with you ’

. ou ou and for you And if y don t , and y get into a

i s n o t . mess , it because you are trained But you ’ are going to be blamed if you fail , if you don t know your craft . You have to be trained to do this work as Rackham is trained . I have been with him in England when he has gone into the printing 7 2 THE GRAPHIC ARTS " OH shop , and has taken his coat and rolled up his sleeves and shown the printers what he wants and ’ how he wants it done , and if he didn t know himself ’ and couldn t have shown them , he would have been kicked out o f that place pretty quickly . He would not even be an illustrator . Jules Guerin carried ou t extremely well so long as he condescended to illustrate by the Japanese o f a method ﬂat color , and yet g ve to his subj ects a O remarkable sense f realism . His drawings for the city - planning scheme o f Chicago and studies Of other cities and architecture are most interesting . In

ﬁgure work, too , Jessie Willcox Smith and Elizabeth Shippen Green started well — with a Bryn Mawr ca talogue or calendar— but in their later work they have become more realistic — though I do not think they are SO real . Another artist who has done the same sort o f work in an equally interesting fashion is William Nicholson (Page He designed the illustrations

- d n es and lettered the title page and cover ofL on o Ty p . These designs were ﬁrst printed from wood blocks was which he cut , but as the book printed in a large edition it was impossible for him to do the printing SO himself, he had copies made and printed by lithog a r phy instead o f from the original wood blocks . But the design shows how well Nicholson understands the requirements and needs o f color printing . He a understands that s well as anybody now living .

His posters and those of his fellow- workman James Pryde— they called themselves the Beggers t aff

— Brothers are equally interesting . In Europe the art of wood cutting has been car ried farther than anywhere else in recent years by

A . Lepere (Page This is on e Of his original

N WOOD B O . LLOTON : B . O P E 7 7 F. V A TH I I I C AG E UR AL R G AL” L K FROM PEN DRAWING AND PEN D RAUGHTSMEN 8 O E : N IN N E PAGE 7 R CKW LL KENT CAI . THE ART I STITUT OF CHICAGO O DARILLE R ’S NY : D . FR M PAGE 7 9 MARIANO FORTU STU Y LIFE O ” PE N D WI N P OD D P OF FOR TUNY . RA G RE R UCE BY R CESS ILLUSTRATION 7 7 blocks . I think i t probable that he made this study of o n Notre Dame from nature the wood block ,

and then engraved it . In it you have the perfection

Of original wood engraving, the perfection in Euro pean engraving, and of what the Japanese have been r doing in their way fo hundreds o f years . There are numbers of other men who have been working ; one allo on is F . V t (Page and he has simpliﬁed things ’ more . I don t think it would be possible to get

S . impler , fewer lines and masses than he He has cut o f on e i s a number wood blocks , and every well

S . worth tudy I want to say, however, that we have n ow o t in this country g beyond all this thing, far

— beyond traditional art far beyond all art . We

have become artless but crafty . Here are a couple of illustrations taken from a paper which used to be a credit to the city o f o f Chicago . Now it is a discredit to the city New

Y . o f ork The print this Side the slide is , as you

see, from a Japanese block ; the print on the other i s side an American design . If you prefer that each o n e o f them is equally simple— to the draw o f s a ing this ﬁgure , well , all I can y is , you can i n do so . And that sort o f work is growing this 1 8 country, and used at the present day, and being

more and more used . I t is only an excuse for

incompetence , laziness , and inability, to avoid the

trouble, skill , and time necessary to do anything

— decently provided you can do i t decently . I t

may be the fashion of the moment , but it is only o f no t the moment, and will , like this Japanese as for o f print , live forever, it has lived a couple

hundred years . The other may make a little on splutter for a moment , but i t will not go living and growing and be more and more appreciated for 7 8 THE GRAPHIC ARTS o f all time . I t is so easy to do a drawing this sort . The perpetrator will tell you he did it the way he

— s aw i t I mean the American print . That is a Of ou t fﬁ i s way getting Of all di culties , but i t not who a way to become an artist . And no man takes

- - - - ou up the slovenly, slipshod, get there any way y can method, is ever going to get anywhere at all . Yo u or can take my word for i t not, but I know I ou on e am telling y the truth , and as eminent artist o n thIS said looking at drawings like , or rather, look “ ing at the same sort o f paintings : You can tell exactly what great artists like Velasquez or Franz Hals or Rembrandt meant when they painted a subj ect , but you cannot tell how they painted it . If you look at this modern work you can tell how it ou was done , but I will be hanged if y can tell what ' ” ﬁ r the da e meant by doing it . Rockwell Kent (Page 75) has followed Blake tech ni c all y in a way, yet for himself, though drawing on hi s paper, and drawings are reproduced mechanically ’ and not as Blake s were by metal or wood engr av K to ing , and ent is trying, really seriously I hope, carry o n the tradition o f Blake in those drawings K which I showed you the other day . ent has

- found Blake like subj ects in Alaska , but I wish he could ﬁnd motives— and there are subj ects quite as i n interesting and as good , and as romanti c the o t I streets of New York, just as Blake g his nspira tion in his little garden near the Temple in Lon don ; and I think if Kent found them somewhere o n hi s the East Side , it would be more to credit , though his work is very interesti ng and reproduces very well . But to turn from original wood cutting and wood engraving to another phase of illustration , there is a ILLUSTRATION 7 9 ou new phase, as I told y last week , since the applica to en r av In tion Of photography wood g g, enabling hi s the artist to make drawing on paper, have it o n photographed to the block , and then engraved . When this was done a great advance in the arts was made . 1 8 8 0 was But about a still greater advance made . It was discovered that if a drawing were photo or u n graphed on to a zinc other metal plate , the drawn parts washed away, and the drawing covered

- by an acid resisting varnish in the form of ink, it could then be etched mechanically instead o f engraved by hand . The photograph was covered

- by this acid resisting ink , then slightly bitten with nitric acid , then the plate was heated and the o f varnish melted and ran down the sides the lines , and not only protected their surface but their sides , and in that way a mechanically etched block was made , the design in relief, which can be printed en r av with type , exactly like a wood cut or a wood g

— ing in relief exactly as Blake had done , yet a perfect o f facsimile the original drawing , a reproduction of i the drawing as a printing surface . I t s a very i s o f curious thing that , although this one the very ﬁrst mechanical engravings done in France after For tu n y (Page it is as perfect in its technical execution as anything that has been done in the same way to this day . The wood cuts and the metal engravings by n or Durer have never been surpassed , have the C n or m ec h a n i wood engravings by Timothy ole , the cal engravings done by a Frenchman named G Ch e fdev ill e illot , who with an artist named per f c i s e t ed mechanical engraving . There no such wonderful work being done today as was done some 8 0 THE GRAPHIC ARTS forty years ago in France and here . Always in the o f Of history the world, when a new method work is discovered, brilliant men capable Of employing it have appeared . Martin Rico (Page a landscape and townscape artist , found himself in pen drawing . He used the pen for the rendering of architecture and one o f the most interesting things about his work is the directness and Simplicity with which ff of Rico got his e ect , and the economy and beauty his lines . There is not a single line wasted, and yet he got all the shimmer and the glitter of the

su n V . too summer in enice He suggests , , the forms o f — su the architecture, rather than draws them g gests them by Shadows which give the form . He o f Of is one the masters drawing for reproduction , for it is the reproduction o f the drawing on the printed page which is the illustration . Shortly afterward another Spaniard appeared Daniel Vierge (Page Both For tun y and Rico was were Spaniards , and the best work done in illus tr a ti on for mechanical engraving in the beginning by o f Spaniards . Vierge carried this system drawing for mechanical engraving farther than anyone else , and carried it ou t more perfectly . Look at the way each one o f his lines tells just as effectively as ’ o n in the old wood cuts . Vierge s fame rests the Of Pa hl o de Se ovi a pages g , the most perfect book and o n e o f the ﬁrst books illustrated by pen drawings reproduced by mechanical process engraving, and o f Still o n e o f the best . Vierge treated all sorts

— ﬁ u re subj ects in this volume g , landscape, still

— o f ex eri life, decoration and he tried all sorts p b ments in technique, always remem ering and knowing that an illustrator must be a brilliant technical craftsman , as all great artists have been .

PE N D PAGE 8 0 DANIEL VIERGE : THE UNIVE RSITY . RAWING OM “ P B O DE O R EP R ODU CED BY P RO CESS . FR A L SEG VIA P 8 N PE N D W N R E o AGE 5 R OBERT BLUM : JOE JEFFERSO . RA I G OD D BY P O O ON OF O PR UCE R CESS . C LLECTI THE AUTH R R AN . STAI WAY , CH TILLY PEN S O O OF DRAWING REPR ODUCE D BY PR OCE S. C LLECTI N THE AUTHOR

8 6 THE GRAPHIC ARTS

There is , however, one thing you must remember, that the drawings you s e e in these magazines are T or all reduced . hey were all reduced, nearly all

Of them , by photography, and that gives them a look of reﬁnement and delicacy which did no t alto gether exist in the originals . But Blum thought about the ﬁnal print on the page as much as the drawing he was making, and how he was to get his results , and this only comes by endless practice and endless observation Of other men ’s drawn and printed work . In that he was only carrying on ’ on tradition , and if you don t want to carry tradition , ’ if you don t try to do better work than everyone ' who ou was has gone before y , well , as Whistler wont “ o n to say, if tradition had not been carried , even ’ the early Britons wouldn t have known how to paint ” themselves blue .

Blum has treated architecture just as Rico did, and this design is taken from a catalogue o f a as hotel in Florida , and is ﬁne as anything he ever did , a proof that advertisements may be artistic— if kept from the advertising man . And yet this is nothing but an advertisement , an advertisement done by an artist who considered that illustrating and advertis a ing were s serious as any other form o f art . And now I come to an entirely different sort o f work , yet done by, I think you will admit , probably the greatest illustrator that we have had, E . A . A r bbey . In this design the e is n o attempt at or ff getting brilliancy of sunlight , any such e ects , but to an attempt reconstruct , as in this drawing for She Stoo s to Con uer p q , the life Of England in the A past . bbey considered illustration j ust as seriously r as his painting o his decoration . And even if his ou t decorations and his paintings were wiped , he ILLUSTRATI ON 8 7 would be remembered forever by the charming ’ Har er s Ma az i ne illustrations that he made for p g , and the books in which they afterward appeared . o n e G Here is another from oldsmith , showing better, I think , than the last the actual pen work and

. A the handling nd although it looks freely done, i t ou t u is carefully thought and carefully carried o t .

I t was commenced with a lead pencil , and then gone over with ink— most Of these men made a pencil drawing ﬁrst and then went over that with a pen . Abbey said to me once— and I believe it is true o f all great artists— that he never touched pencil to paper until he s aw the whole design completed o n before him the blank sheet o f paper . He got the whole thing in his head, and had i t there before he m ’ com enced to work . But I can tell you , he didn t do ou t for it of his head, that man never drew anything without a model . He hunted the whole o f England over for those chairs and tables in the drawing . If there was a bit of detail or anything of that sort he wanted , even though it should be in the remotest o f part Europe , he never hesitated to go and get it , to or get somebody get it for him , and put it in as a tiny detail I n o n e o f hi s illustrations to make that drawing right . But as he said, illustration is just as i s serious as any other form of art , only now it not A SO regarded . Working with bbey was an English a man , Alfred Parsons (P ge who designed nearly

- all the frontispieces and head and tail pieces , and ’ i s A . drew the landscapes , in bbey s books Here the title - page from one Of these books which shows how brilliantly Parsons could render decoration . But for o f he did not conﬁne himself to that , here is one

— his drawings from nature , a little tail piece , carried ou t with the utmost perfection , and carried out in 8 8 THE GRAPHIC ARTS a way that has never been surpassed . Although Parsons was known all over the world years before he began to paint , and though i t was not until he did paint that he became a member Of the Royal

Academy and other societies , yet he , too, like

- - A . bbey, will live by his black and white illustrations t o William Morris , a little later , determined

o f . resurrect the work the past His idea , and that

- of the pre Raphaelites , was that everything after o f was the time Raphael worthless , and he went back to the earliest designing and the earliest

rIn tIn . A p g nd he endeavored , and succeeded from his point of View, in making decorated books which have never been surpassed in modern times and probably never will be equaled again . He also

‘ designed and had his type cut and cast , made initials and borders , and almost ruined the whole with his awful stops which di sﬁgu re the pages . He set the whole up , and printed his books on hand on a of presses , basing his work th t the early Venetian printers of the ﬁfteenth century, printing a notable series o f volumes by the methods o f the early printers . The most complete, the most important o f all is his Cha ucer (Page The decorations were designed by Morris , and the drawings are said to

- T . have been done by Burne Jones . hey were not Th w ey ere by two of his pupils and friends , Fairfax C Murray and atterson Smith , but all the same the en book is beautiful , and the illustrations were graved on wood by W . H . Hooper, who had engraved ’ o f 6o the men the s . There are certain things that ’ we may not like about Morris work , but I want to tell you that Morris carried ou t his ideas by the methods o f the early printers and the early designers . He took very little advantage Of what

O D O : OT T . PAGE 8 8 W. M RRIS THE KELMSC CHAUCER WNE BY THE ART IN STITUT E OF CHICAGO ILLUSTRATION 9 1 has been done since . And others have followed in his steps mostly without his success , because they o f are without his knowledge, gained by a lifetime experiment and experience . Morris ’ books were printed in his little shop in Hammersmith (Page and you can s ee the sheets in front Of the press and the two men working in the same way that the printers o f Venice worked three or four hundred years before . He believed the that was the right way , only way to do good S of was work . ome us think it not , and that work can be done as well by taking advantage of ou r s o on present methods and carrying tradition .

There were two men , however, who still clung,

. C and very ﬁrmly, to the Morris tradition harles Ricketts and Charles Shannon were two artists who worked together, and in their illustrations , type, a printing , and binding issued m ny volumes from the

Vale Press , which was run by B allantyne of London , T from which came a notable series . hey designed their type , made the drawings and cut them , and they T did it surprisingly well . hey also made and issued ’

The Di al . , the most notable English artists journal There are a ‘ number o f other designers and

— s o n o f printers in England Pissarro , the the painter

G . Pissarro , and James uthrie There are other ’ craftsmen now all over the world , but if you don t ’ know how to do your own work, it won t get done . G uthrie , at the Pear Tree Press , is doing good work, o f B much o f it in the manner lake . There are other artists who believe there are o f o f other ways working, and one them was Howard

Pyle . Pyle believed that the way the artists of today should work was to take advantage o f modern o f hi methods . And he designed his edition Ro n Hood 92 THE GRAPHI C ARTS o f (Page 93 ) from end to end himself, yet instead the illustrations being cut on wood laboriously by hand they were sent to the photo - engraver and engraved mechanically in the same way the work Of Vierge

. hi s was engraved He used good type , he spaced o n type well , and he arranged his illustrations the page well ; he drew not only the decorative head

- and tail pieces , but the full pages and the cover, and he also wrote the story . And that book made o u t an enormous sensation when it came here , and even impressed greatly the very conservative William 1 8 8 Morris , who thought up to that time , 3 , nothing good artistically could come ou t o f America . But Pyle succeeded and produced several other volumes by which he made an international reputation . m At the last , however, he became a ere hack , and , dying, regretted it . In other of his books you can s ee how carefully, in fact , too carefully, he resur tt t i l r ec t ed the past . In O o of he S ver Ha nd he told G o f A and illustrated a erman story the Middle ges . ; The drawings were made in pen and ink , photo o n en graphed to metal plates , and mechanically o n he graved , not cut wood ; and that is the way o n carried tradition , the way all the work that I now ou have to show y has been done, the way we are

o n . doing today, and the right way to carry Elihu Vedder designed and illustrated Omar Kha am yy , a notable American edition (Page or The originals were chalk drawings , I think , chalk o n and wash , and the illustrations each page are very well put together, very well designed , and very well engraved and printed . The book was published ’ H Mifﬁi n C a 8o s by oughton omp ny early in the , but o f e n ra v still lives as a remarkable example drawing, g ing , and printing .

PAGE 92 ELIHU VEDDER : ILLUSTRATION FROM OMAR ” D N P OD D Y P O KHAYYAM . CHALK RAWI G RE R UCE B R CESS ILLUSTRATION 95 ’ I showed y ou a few moments ago o n e o f Morris 2 presses . This is a modern machine (Page 1 8) that ou o t you must encounter , that y have g to tackle and conquer if you want to become really successful illustrators , engravers , printers . This is the sort Of monster o n which illustrated books and magazines are printed today . o t to But you have g master it , and until the Art Institute Of Chicago begins to run a printing o u establishment , and makes y art students who want ou to learn illustration take that practical course , y are going to have a pretty bad time when you get ou t in the world and encounter the engravers and printers who want practical workmen and not You s ee untrained artists . can what a terrible i s fﬁ monster the press , and it is a very di cult thing to o u ou subdue , and I tell y that y must be its ou master . You cannot tinker with it , y will not be i t allowed to tinker with , because if anything goes wrong with the press yo u will spoil thousands o f ’ o t dollars worth of work , and you have g to know i t fo r o r before you will be allowed to work it with i t . o f But it is your duty, in fact the duty the directors

Of this school , to start practical training , and unless you have this training, and until you can use what you think is your wonderful ability , your wonderful ou o f u s e ideas practically, y will not be much in this work . And that is the trouble with the people in the United States ; we know everything except how u n re little we do know practically . We are as p r pared i n art as we were in wa . This scheme o f carrying on mechanically the old methods is shown perfectly in these two designs . Dii rer on One is by , drawn and cut wood, and the other a pen drawing mechanically reproduced by a 96 THE GRAPHIC ARTS

G . modern erman , Sattler He has studied drawing, old engraving, and printing, and new, and knows to the whole craft down the ground . And that is what we Americans have got to learn if we want to do better work than foreigners . Here is another design by Sattler (Page o n e o f hi s of the most brilliant drawings , done with a o f splendid command the pen and the brush . Prob ably that ﬁgure was put in with the brush , a solid

. s ee black , and the rest with the pen But how won derfu ll y the thing is done ; an old theme , but it is ou t carried in a new way, by modern methods , and i that s what you must learn to do . Here is still another German design by Otto ’ G Of reiner . I don t like the mixture decoration and W i s realism hich in that page, but still i t is pretty I Its well put together n way, and marvelously drawn , G wa . s engraved, and printed reiner killed early in the war . Many Englishmen have followed in the footsteps n of Morris . Herbert Horne was o e . This is a page bb The Ho Horse . from an early magazine, y This

Shows how, with a pen and a brush , you can get richness o f color in a manner that the old men knew nothing about , and it is all done with a pen , and mechanically reproduced . Other forms o f book illustrations have been fl ou t . carried In Birmingham , under the in uence of Morris , several very brilliant men appeared, among them , E . H . New ; he was a young man at

I n o t so . that time , but s young now He applied G that Old erman method to modern pen drawing, and in a series o f portraits like this and i n book plates he made a reputation . He is now, and has o f o f been for years , making a series drawings the

OR O PAGE 99 AUB REY BEARDSLEY : ILLUSTRATION F M RTE ’ PEN D D ARTH UR . RAWING ILLUSTRATION 99 s o f is college Oxford, in what called the Loggan ’

- manner, bird s eye Views ; and he has made them into designs which are quite as ﬁne and quite as decorative as anything that was done by Hollar o r Loggan or any o f the o ld engravers who worked You in this way . see how stunningly the portrai t is drawn . I admit that it is hard and conventional , but still it is decorative, and is very good work and

o f . prints well , and that is the end illustration G F . E . riggs has also done much good work some what i n this way . There came a time when a certain young man thought he could go quite a bit farther than Morris old and Pyle, and that boy, about nineteen years hi s when he made ﬁrst important drawing, was

Aubrey Beardsley . He believed at that time in ’ ’ Morris work, but not in Morris methods . In the ’ design for his edition of the Morte d z i rthur (Page he carried ou t all the Old feeling in the decoration and the ﬁgure drawing, and it was perfectly proper in the Hi subject that he should do SO. s drawings were done with a pen and reproduced mechanically by C H arl enschel , also an experimenter, and yet he got results in his published work quite equal to anything that Morris had done . But Beardsley was a man who was not contented with doing only on e or thing, and during the four ﬁve years that he was working he was always doing something new, ff and by di erent methods . In some he used certain

Japanese formulas , in others Old I talian , and he went on and o n doing more wonderful work until it culminated in a series Of designs for The Rape of the k o f L oc o f . , one the most perfect modern books I shall never forget o n e night when Beardsley was in my place in London , and Whistler came 1 00 THE GRAPHIC ARTS in , and Whistler had never liked Beardsley, and o n Beardsley knew it . He was e of the most sensi tive creatures that ever lived . He always carried a portfolio containing some of his work around with him , and when Whistler came in , Beardsley opened the portfolio and Showed him his drawings . Whistler o n e looked bored , but he showed him this , among others , and Whistler looked at the drawing, and “ mi s said, Aubrey, do you know I have made a ’ ou take . I didn t believe in y , but I know now that ” you are a very great artist . And the boy burst out

. o crying That was the type f man Whistler was . You have heard many things said about him ; you have heard many things said against him . But I s a wish to y that he was the most devoted friend , and a most si ncere critic , and most generous to artists whom he believed in and knew were doing some thing worth while , something that was worth doing ; and he ‘ knew from that time that Aubrey Beardsley was the greatest designer England had in modern T times . hose were almost his last words to Beards ley , for this was just before his fatal illness was coming on him , and Beardsley went from the success of his work to the south of France to die . The lives o f K two men , eats and Beardsley, are almost identical . Both Of them will live , one in literature and the other in art , forever, and both were killed by criticism — the spite o f the little toward the great .

A Frenchman , too , who was working at the same C o f time , was arlos Schwabe , who made a series ’ illustrations that are very remarkable , for Zola s Le Réoe (Page You can see the feeling of the i s old work in this drawing, yet it carried out in the

. b i s new way The com ination perfectly stunning,

1 03 . N BE N - E R OM PAGE R ANNI G LL : JACK THE GIA T KILL R . F

NB O D D BY R E R . P D BA URY CR SS SERIES. E ITE G AC HYS UBLISHE

BY . P. D ON 8 1. E UTT CO . ILLUSTRATION 1 03 as ﬁne as anything I know in the printed book . A nd yet it was published in parts which sold , when it came out , for ten cents a copy . Anning Bell (Page 1 0 2 ) is another Englishman ’ o f who , in a series Of children s books , one which is

o f G - K the story Jack the iant iller , from which this

i s . see taken , did some ﬁne work There you the use o f Simple pen lines in contrast with great masses o f brush work . And again I want to call your atten tion to the importance of being able to make your masses tell , and to make them in such a way that they

— will print . That is what is wanted not only to get drawings that will look well on paper as drawings , but you have got to make drawings s o that the mechanical engraver or the wood engraver can en grave them , and the printing press will print them . o u I t is not the drawing y make that counts , but it is the print that counts . I t is the printed page

n . which is seen . The people may o t like it That ou does not matter . But what does matter to y is that you have got to draw it so your work will print , and then the people can go hang . You fo r should not work for the people , but yourselves , h w but you must know o to work . ou I have not shown y any drawings , scarcely, in wash , for this reason . I f you make a wash draw I ing, you make t j ust as you make any other e wash drawing, but ther are certain things to be learned . No wash drawing has ever been printed

n o t . perfectly . I do believe one ever will be The s ee print seems pretty good until you the original , and then you come suddenly to the conclusion that it i s usually pretty bad . But pen drawings can be perfectly facsimiled . Wash drawings cannot , yet they are used everywhere today . 1 04 THE GRAPHIC ARTS Now to we will turn another sort Of work , the T n work o f the comic artist . hough you might o t SO have thought , there was more fun among the ’ G — a t ermans least before the war, I don t think there is much now— there was more sense of humor among those people than anywhere else , and not only that , they knew how to make funny draw ings that would print , and William Busch , in his Fli e ende Blatter endless comics published in g , and e o f other pap rs , did know how to make drawings o u r this kind . How many of the artists on papers know how to make drawings which are comic o r even artistic ? Compare drawings like that with such as appeared in The Chi cago Tr i bune this morning "

Forain is a great French comic o r satiric artist . He has made endless drawings for the Figa r o and other French papers . There are an endless number of men we look at for their humor and their art — they want no legend to explain them — i n every country all over the world , there are men who possess this power, except in this country . We have scarcely one real comic artist , one cartoonist . There is one , and he i s Arthur Frost (Page Hi s technique is not good . I t is , in comparison with that of the foreigners , 1 very poor . But there 8 something expressi ve about his facts and fancies that the SO- called American ’ caricaturist doesn t understand and cannot approach , or come anywhere near . There is not a single man in the United States Of America who can make a ’ A drawing like Frost s , though W . . Rogers is very good indeed, yet every newspaper in the country has a cartoonist , and a funny man , but does anyone laugh at a funny drawing in the newspapers ? You weep for a people who can stand such rot .

P ON PEN D N R O AGE 1 07 PHIL MAY : THE PARS . RAWI G EPR DU CE D P O IN O ON OF BY R CESS , C LLECTI THE AUTHOR ILLUSTRATION 1 07 An American who has had a wonderful success is

C G . Bu t Gi harles Dana ibson unfortunately Mr . b n on of so devoted himself to e sort subj ect . He has u s s cceeded in that , but he seem to have tired

' of . Gibs on Gi rl it He certainly did , with his , make bu t no us e some very charming studies , I have for myself his political work , and I think that if G s to G Mr . ib on had conﬁned himself his irl , he s would be a great deal better known today arti tically, and have a considerably higher artistic position than he has . I think there are many people who do can political caricatures as well as he can , but ’ I don t think there is anyone who has been so suc c ess ful s as he has with charming young per ons , and he has drawn them charmingly . He has endless imi of t ators . , and imitation is the source success today

G t oo hi s . ibson , , knows craft

. G . B was W axter, an Englishman , a great comic artist . Nobody in this country has ever been able to make a design like this . The character i s marvelous . Nobody here has rendered that in the way that Baxter has . And yet it was published in ’ ' a All Slo er s Ha l . very vulgar comic paper, y p f a Holid y . But is there anything among the comic ” “ G or drawings , such as The umps , Bringing up ” or o f Father, anything that sort , which disgrace A the merican press today, that comes anywhere ? i s s ee . near it If there , I would like to it But

no r ou . I cannot ﬁnd it , can y The American comic

n o t . artist would be pathetic , if he were a disgrace Another Englishman was Phil M ay (Page C K and he was as great an artist as harles eene , whose work I showed you in the last lecture . May really cared for comic art , and succeeded in doing a very on e remarkable series o f designs in Punch . He was 1 08 THE GRAPHIC ARTS o n of the two or three artists ever that paper . His ff drawings look as though they were knocked right O .

They were nothing o f the sort . That drawing I

know, because I saw him make a part of i t , was

drawn again and again . The face is a wonderful

study . His great aim was to Simplify and simplify . And although anyone who saw his work might think hi s m ﬁrst atte pt as near perfect as it could be , yet he would lay a sheet Of thin tracing paper over the

apparently ﬁnished drawing, and go over each line, ou t o r or here and there leaving one two, adding

another, and I have known him to do that several

was . times before he satisﬁed He, too , regarded as illustration as seriously any other form of art ,

and that is the reason why he became a great artist . In Holland and Belgium there are a certain number of men who have taken up the profession wn very brilliantly and in their o way . This study o f the Dutch street is notable, giving the Dutch H feeling and character . as well as De oogh could

paint it , and it proves that nationality can be given

t o art and to illustration . i s G Here another by arcia Ramos , showing the S way in which the modern man works in pain . In o n e o n ou fact could go endlessly, but y should at least see the work of Tegner the Dane and Larson

the Swede . You must look in the illustrated maga o f zines and books those countries and ﬁnd it .

Paul Renouard is a great French illustrator . This

study (Page done in chalk, though the chalk 1 i s S used in the same way as the pen , as ﬁne as a

Degas . His portraits are among the most stunning

things I know of. He has treated not only the G o f Ballet irl , but politics and the horrors war in ’ L Ill ustra ti on The Gra hi c the pages of and p , in a

1 1 0 THE GRAPHIC ARTS stunning than this charcoal portrait (Page 1 2 7) which or he intends to publish in some newspaper magazine .

I t is perfectly done , and yet it is done by an illustra hi s tor who is hardly known in country, and outside

o f . A it, scarcely at all nd yet he is a very great no t artist . Why do the American people have their portraits drawn instead of being photographed ? Pos ou r s ibly it is quicker and cheaper ; those are ideals . The Institute possesses a number of charcoal drawings by F . Hopkinson Smith , which are well W orth study , for Hopkinson Smith was an interest ing technician and understood drawing for the press , invented it so far as charcoal drawing is concerned . I must say I never saw a pupil studying those up

or . stairs , even looking at them And there is another thing a propos of ‘pen draw o f ing . I believe that the rage for the reproduction bad Oil paintings and worse water colors is drawing o f o f to its close . Take up any the magazines enlightenment and public opinion , which circulate by the millions in this country today, which the average reader picks up, commencing at the back , spits on his ﬁngers and turns forward to look at the advertisements , and gradually comes to the illus ' tra ti on s and the text , and when he gets there he throws it away " Nobody ever looks in those T magazines for art o r literature . hey are looked at for l advertisements , and I believe some adies look at them for house furnishings and dresses and s o on . But to look at them for art— there is scarce any art in them . There is no art scarcely in the daily papers . I t is not intended that there should be any art in them , unless in the advertisements . But I believe there is coming very Shortly a revival in pen drawing, and through advertising, and that PAGE 1 08 PAUL RENOUARD A PURVEYOR OF LIQUID RE FRESH M D N OD D BY ENTS FOR ANARCHISTS . CHALK RAWI G REPR UCE OF O PROCE SS . IN THE ART INSTITUTE CHICAG

M Wo O : . O D PAGE 1 09 F. WALTER TAYL R THE NURSE CHARC AL D W N O D THE ING REPRODUCED BY PROCESS . RA I G L ANE BY ” D IN IV N : S TO RE SARTU S . P N W . A A PAGE 1 09 E . J SULL A R R E R G REP R ODU CED BY PROCESS

1 1 4 THE GRAPHIC ARTS off goes in , these rolls , goes through the various ou t cylinders , and comes printed and folded . There A are two of these presses coupled together . nd although Dii rer would be contented probably with one o f forty or ﬁfty proofs of his blocks in a day , those two machines I believe will turn ou t a hundred thousand copies of a completed newspaper in an o f hour . And that is the kind monster you have got to work for , and have got to know and have o t g to manage , and it does take some study and tr ai n Ing . Franklin Booth (Page 1 1 8) understands the ff ou machine . This e ective design came t in a daily o r paper only a week two ago , and prints remarkably for well , and is an example of how one should work cheap and rapid newspaper and magazine work .

He has been successful , and his technique is now imitated by every little thief in the land who can imitate but n o t invent . f r There are endless ways o drawing fo the papers .

Here is another, a very clever drawing done by “ — an Englishman and when I say clever, I mean “ good . Look at the way he makes his solid blacks , yet the artist has broken all his blacks up o f in small dots , and got a remarkable bit color, and it has printed well .

One could go o n forever . This design (Page 1 1 7) i h wY k E ven n st C . t e Ne or Po . in g is by a man , B Falls, ’ C whom I don t think you appreciated at all in hicago . to He studied in this school , and he has gone New i s o f York, and doing in his way some the best work in the United States . But he learned his craft in

New York shops ; he could not learn it in this school .

He is a highly skilled technician , a highly trained artist . ILLUSTRATION 1 1 5 This newspaper advertisement (Page 1 1 9) was u end on e o f G taken from 7 g , the erman newspapers , just before the war, a wonderful thing , an advertise

ment o f Benedictine . If we were advertising that

here, and making a drawing for the advertisement , o n e we would put in a great many details , and in

- corner, perhaps half hidden , we would put the

thing we are advertising , but these people wanted to advertise Benedictine , and they do it in a

direct way, and in a telling way, yet it is a work

o f art . This is o ne o f those things that was printed at the rate o f a hundred thousand copies an hour in the New Yor k Ti mes Of , a reproduction a lithograph made some years ago (Page They are doing no such

work today in New York , but it is a proof that a

thing done technically right will print , because it or was printed, and it was syndicated , electrotypes

moulds sent all over the land, and there were several Of on million copies it the same day , in papers pub h li s ed all over the country . I am not impressing upon you so much the S as artistic ide the technical side of illustration , for ou that is most important . Unless y are technically

trained you cannot do technical work , and illustra

tion is technical . This is the sort o f thing that the American public Of now loves . This is the kind thing we have come

to . And it is going to get worse . I showed this

slide in Washington the other day, and I also had a o f paper containing more drawings the sort , and after advising the people and telling them what I o f thought that wonderful design , and what I thought o f a nation that could appreciate such pathetic

rubbish , such a disgrace to art , a lady came up to 1 1 6 THE GRAPHIC ARTS u She me after I had concl ded , and said, Would you mind giving me that copy o f the paper that to you put in your pocket , because I want take it ”

s o . home to Sammy, he likes those things much That is the kind o f thing that Sammy is being brought up on , and when Sammy grows up he will our never get away from it . I t is duty to get Sammy ro t to away from that , and stop papers from printing that sort of thing, or this country is doomed artis to t o tically . And the only way stop it is train to tr aIn to S illustrators properly, and them how by their work that illustration is a serious profession . I t is almost alone in what is known as commercial art , commercial illustration , that we are doing any art work o f any valu e — though what sort o f art is there which is n o t commercial ? But it is in adv er t i si n o f g art , to the advertising pages the maga zines and papers that we must turn today for ou r illustration . Americans are become a race of shop adv er keepers , and they believe today they must tise— tomorrow they will do some other Stunt— but o f today it i s art in advertising . Most it is artless

- a hodge podge of photographs and frills . But there ou to is some good work done, though y have got wade through oceans o f rubbish on the back pages o to ﬁnd it . One phase is that s completely sterilized and standardized have we become that no sooner o f own or does some artist evolve a style his , rather o f a technical mannerism , than a whole horde imi t a tors pounce on it .

Lately Mr . Franklin Booth did this , as I have o f said . He worked out a combination white line and oil paint handling, in pen and ink, which was o f amusing and printed well . Instantly a gang thieves and prigs and ad men and business men

W N FOR N W P P PAGE 1 1 4 F RANKLIN BOOTH : PE N DRA I G E S A ER ADVERTISEMENT REP RODU CED BY P RO CESS P 1 1 5 D E N R O ND N P P AGE A V RTISEME T F M JUGE , A GERMA A ER . PE N D RAWING REP R ODU CED BY PR OCESS o P 1 1 5 O P P NN : E M M . LITH O AGE J SE H E ELL ST A SHOVEL , PANA A “ ” GRAPH REPR ODUCED AND PR INTED IN NEW YO RK TIME S

1 22 THE GRAPHIC ARTS high places , when they should be ﬁned for infringe o f ment o f copyright . But critics art in this country are still more ignorant , mostly, and we have no r on e o u Standards o f art o morals . Let man work t or resurrect something that is interesting— a dozen immediately copy it . We think we are an i nv e n

. e tive, idealistic nation We are too oft n cheap

- imitators and low down thieves . The wood block o r process block can be printed with letter press, and therefore it is most used today . The drawing may either be drawn on or photo o n o f or o r graphed a plank cherry pear wood , the

— cross - section o f a piece o f boxwood if any decent wood h as been left by the billboard men . Or it may when drawn on paper be photographed on to the wood . Linoleum and thick oilcloth can also be cut and are much used abroad . The drawing should be done in o n e o f two ways — either made o n wood o r paper in firm lines suffi ciently far apart t o not clog up in the printing press , yet not too far, so s a as to allow the paper to g and smear the design , with pen , pencil , or brush charged with india ink or some other strong black , for it must be remem bered, first Of all , that all lines print equally black or Should in the press — and that strength of color in cheap , rapid printing cannot be varied . The or ff only way in which tone can be got , di erent o f o strength col r, is by making the stronger blacks with broader lines . Another method of making wood cuts i s to blacken the whole face o f the block and then to draw the design in white upon it with r Yo u the graver o knife . make some very clever Studies in white chalk or color on brown paper in the schools — they are Of no value to print ’ ou c u from . Why don t the teachers teach y to t ILLUSTRATION 1 23 ou them in wood, then y might learn something practical .

Having the design on the block , the wood cutter

Should carefully, with a knife or a graver , cut a line o f o r in the wood on each side the black line mass , to cutting a simple narrow line start with , then with a chisel or gouge dig ou t the big white spaces C on each side o f it . rosshatching should be avoided as much as possible , for, though it is easy enough to draw, the spaces between the crosshatched fﬁ ou t . lines are very di cult to cut Therefore , n o t for only for printing but engraving, the lines and masses should be kept separate and as far apart as possible . When the block is blacked and the drawing made in white, the whites are gone over with a graver, thus cutting them into the block, and the cut or engraving is thus made in white lines which will print— as the lines are lowered and the black surface alone will take the ink . This

- o f is white line engraving, the method Bewick . on The black line, cutting the surface away either S o f o f Dii rer ide the lines , is the method and the ffi Japanese . With su cient technical skill , white ou t o f line engraving can be done doors , as it is A . S a direct method the black block is cut , the lines may be filled with whiting, and it will look exactly as it will print . All American wood engravings of the more elaborate sort are done in white line on the black block , though at times both methods are employed o n by skilful men the same block . The English wood engravings o f the sixties were done in the older on way, the black lines drawn the block left stand ing . The drawings were usually done in pencil ; if wash was used, the engraver had to cut it into lines . 1 24 THE GRAPHIC ARTS But the great thing is to take advantage o f and retain the blacks , making bold strong lines and leaving big strong forms in black . Dii rer In either case study , the Japanese , and o f e V allo ton the work modern men like Lep re, , DO Nicholson , and Ricketts . not be led away oseurs not by incompetents and p ; clumsiness is art , and incompetence is not genius . The greatest works in any medium were done by the most skilful , ffi the most highly trained artists , and it is as di cult for an artist to put down lines the wood cutter o r engraver can follow without having to cut new ones as it is to cut or engrave . I f the artist makes and own cuts his blocks , he will learn this soon enough and if his lines are no t good and an engraver does how the cutting, he will learn bad they are, and the result will be a shock to him . on or The block may either be put the press , an electrotype o r stereotype plate made from it and printed ; if some o f the fools who make etchings to be reproduced and printed would try to make wood ou t how blocks , they might find bad their work usually is . But , then , it is much easier to make a bad etching than a good wood block . For some reason a bad etching has a great fascination for ignorant people, who are gravely impressed with it . h as Process mechanical engraving relieved us , o f o f or however, the necessity cutting engraving n designs on blocks . There is o question that the wood with its grain , and the linoleum with its soft material , give a quality, a depth and richness to the line and mass that the hard metal plate will

no t . yield Note , in any good Japanese print , how o f the grain of the wood is taken advantage , some a times making pattern and aiding the design .

1 26 THE GRAPHIC ARTS

So far as I have seen him work, Beardsley never made a pencil drawing, but put a few lines on his paper and started in with a pen . Abbey and C K harles eene greyed and diluted their lines, but to get the proper eff ect on the pages all their grey rou lines have to be gone over with a graver, or n o t lette, by the engraver, for if they are , they will l print perfectly black . I began by making e aborate pencil drawings and inking lines over and around them . This was the method of Rico and Vierge, C l the right method . o ored inks , too, Should be o f avoided , as the camera is no respecter color, and beautiful blue inks may disappear completely, and rich reds turn po t black .

The same is true of lead pencil , which from its C shine and greyness is bad for reproduction . har coal , crayon , and lithographic chalk are much better for line drawings , as they are dead black and any or shine glitter in the drawing may photograph badly . o f There is , however, a method reproducing or drawings which are grey , shiny, or smeared, and incompetents take refuge in these defects , but if a or line drawing has any of these defects qualities , “ ” i t must be reproduced by half- tone and n o t

- direct line process . By this method almost any thing can be reproduced and very wonderfully t oo reproduced , , but this method cannot be satis fac toril for rIn tIn y used cheap and rapid p g, and also

i - it is tw ce as expensive as the direct line process . I t might be well again to explain both ; the illus trator must understand them and their requirements . The line drawing is photographed on to a sensitized o r copper zinc plate , where it appears in black , z r usually reduced in Si e . This ability to reduce o enlarge the drawing and also to reverse it for printing 1 1 0 O : O O PAGE F. WALTER TAYL R CHAR C AL P RTRAIT M M E H OE P RE PAGE 1 1 3 ODERN ULTIPL RINTING P SS

1 3 0 THE GRAPHIC ARTS o f containing some hundreds lines to the Square inch . This is done to break up tones or to prevent greys o il from printing black . An painting could not be reproduced by the line process , but can by this . The lines in the ruled screens tell as whites on the darks of the design and as blacks on the light por T tions . hey can easily be seen by magnifying any reproduction of a painting or photograph printed in a book or paper . When the design is photographed o n o r or to the metal plate , it is bitten etched more less in the s ame . way as a line block . This work can now be done in as few hours as the Old men spent weeks in engraving on wood . Whites may be or etched out by this method as in the line process , dug out by engravers . The screen has been a great blessing and a great curse to illustration . By its use paintings can b e reproduced and any sort o f drawing ; c on se quently a tribe of money grubbers have arisen who ’ ’ can t draw, can t paint , but they have formed a combine, and the screen and the artless editor are altogether responsible for the utter downfall o f Fo r American illustration . a while editors believed they could drive artists ou t o f the magazines by

o t o f . photography . People g Sick it But they have standardized and sterilized artists in a fashion

S — to delight a prohibitionist . ome day and there

— a are signs illustration may revive , but tod y it is i n rotten America, like the country and the artless people . This sort of popular person has debauched

. o f en rav the country He knows nothing art , or g C ing, or printing . ash is his only aim , ideal , ambi tion . I believe he gains it .

Drawings , however , may be intelligently pre

- or o il bu t pared for the half tone process in wash , ILLUSTRATION 1 3 1 by either one the screen deadens , lowers , ﬂattens them , even with the greatest care in photography and etching— and the printing press usually ruins what is left . The drawings should be made in black and white monochrome— i n water color charcoal grey is excellent — i n o il each artist h as S u his own scheme . ome s e gouache and tinted

o r . n o n o paper, body color There is rule and cer T tain result , save that color is bad . hey are reproduced without any etching ou t or engraving

o u t o f o r . whites , hammering up blacks The art editor thinks a black Should be like shoe polish and a white like a Shirt front used to be . The only way to get the proper effect is to leave the ﬂat screen dots all over the block ; this Simply lowers the ’ tone , which the art editor doesn t like , so he digs a hole in the block to get an effect and prints it in

o r - yellow green , and the photo engraver scratches a Off corner and planes the Side , and the printer souses it in ink, and these and many other things r account fo the artlessness o f the American art paper . 0 o f N amount reproduction , no method will make bad paintings into good illustrations , and i t is with bad art most o f bad journalism reeks . The editors and the public neither know nor care how ai n ti n ﬁau n ts the unsalable p g as an illustration , the delight of the vulgar herd . I t is ridiculous to s ay color can be reproduced by the present How mechanical methods . can a painting, which o r o r has no pure red blue yellow m it , be copied u s e o f ? by the raw reds , blues , and yellows The engraver and printer must use the colors the artist u s e used, and the artist must know what colors to , what colors will reproduce and print . Both must A o f study this in a t echnical school . s a proof the 1 3 2 THE GRAPHIC ARTS

o f - success the three color method, let the photo engraver try to reproduce a piece Of undrawn - on grey paper by this process . Color can be reproduced and printed only as the Japanese have used it in their color prints — by fl drawing the design in at tones as a mosaic , as all good color printers have done, printing the colors one — after another, side by side that is the only way, the way good work alone can be done . Three color processes , in which red , yellow, and blue blocks are used to get effects by superposition and secondary or other color combinations , are very o f wonderful , but they are not art ; but in a nation

- - canned musicians and margarine eaters cold stored ,

— three - colored art is bound to be popular with all ? but artists , and what do they amount to To make color prints , as many blocks must be cut as there are colors . The artist must mix the colors on one himself and put them by one , colors that r1 will p n t . This method can be employed for rapid printing . I t is the only right one . The three - color scheme can be seen on the cover Of any magazine , each more artless than the other . The artist must be prepared to have meaningless , artless tints of blue, brown , or green stuck over his drawings by artless editors and printers , the drawings cut on two in half and put pages facing each other, bits cut clean off — i n fact there i s no end to the barbarities , vulgarities , and inanities the art editor ’ will perpetrate o n an artist s design after it has left his hands .

With proper technical schools , national schools , too we would get skilled workmen , men and women , who understand the printing art . We would then again take the place we have lost as the leading

P W 1 5 0 . BO T AGE A SSE : ETCHERS A O RK . ETCHING T H E G R A P H I C A R T S E T C H I N G TH E ETCHERS THIRD LECTURE TUESDAY APR IL 1 3 1 920 T week I tried to talk to you about Illus trat io n , and this week I want to take up the n f Gr a hi c subj ect o f Etchi g . Both are forms o p i Art , and after Illustrat on , Etching is the next Older ou form. I told y last week that Illustration dates back to the very earliest ages . Etching , however, as we know it , is a much later product , and begins with the Middle Ages . The earliest forms o f etchings were prints made from designs by goldsmiths , silversmiths , and other o r metal workers , as a record for themselves , in order to Show t o their clients patterns and designs . These designs were mostly for sword hilts and other decorative work in metal and were made by drawing the lines on the surface o f a metal plate through an

- o r acid resisting varnish , cutting them directly into o f the metal with a graver, which I showed you the 1 3 6 THE GRAPHIC ARTS I form n the ﬁrst lecture , rubbing into the sunken lines black paint , placing on the surface of the metal decorated a piece of paper, and rubbing it o n to the back , in the same way that the Japanese day make their wood cuts , by rubbing . The ink came ou t of the lines upon the paper which was rubbed . The lines were ﬁlled with black enamel

o f . later . This form work was known as Niello Casts are also said to have been made and printed o n o f from . There was no intention the part to these craftsmen make prints , but they did make to prints despite themselves , and it occurred artists that this method might be used for engraving or etching ﬂat surfaces o f metal by multiplying these rubbings . I t would be easy to trace this , if I had the time, but it has been done in a previous C tc i n a nd E n a v . E h r course by Mr arrington , g g

i n . g , who discussed the Old work But if I want to to talk about modern work, there is so much talk about that I can refer to only the most notable work that was done in the past and to only the most notable work in the present . Yet among the a rtists o f the past were men whose work we have never surpassed . The greatest were

Dii rer . and Rembrandt Whistler , however , has sur an Dii rer passed Rembrandt as etcher . lives as an engraver . ’ Dii rer s engravings in metal have never been approached in modern times , by modern artists .

He made but few etchings , and those etchings were

n o t o n . done , copper, but on iron Why, I do not o f know, or what sort acid he used to bite them . The only thing of any importance is that he used the same tools to make these etchings as he did

— for his metal engravings the same tools we use .

1 3 8 THE GRAPHIC ARTS ou y by the British artist, Sir John Millais , must s ee that he go t his idea for that little illustration to The Parables from studying the stony foreground ’ “ ” o f Dii rer s Cannon done three hundred years A before . nd what could be ﬁner than the drawing ” o f C o f the annon , unless the drawing the land

— scape the whole is a masterpiece . I t was done on no t o iron . Steel was used until the beginning f the last century . I am n o t going to say anything more about to metal engraving, only call attention the work by Mantegna and also by Nanteuil . Later the art fell into the hands o f commercial h w o n o t . T engravers , were artists at all hey

T . were patient plodders . hey killed the art And nothing has been done in steel engraving, except

for o r . for commercial work, twenty thirty years The last man who practiced it in this country was on Alden Weir . He did e plate which was really a delightful and charming example of metal engrav

i n . i i s g Metal engrav ng virtually dead now , just as wood engraving as an art for reproducing i s G I dead . overnment and bank note work s engraved o n desI n s steel , and , if the , g were only as artistic our as they are elaborate , would be amazing ; but r government h as no use fo artists . I t was not until after Dii rer that the art of etching really came to perfection , and although etching has been practiced ever since , there are only two supreme etchers who have lived in this wa world . One of them s Rembrandt and the other Mc Neill was was James Whistler, and the latter the greater etcher .

This print by Rembrandt was not only, at the time it was made , a very extraordinary etching , but O . PAGE 1 3 7 ALB RE CHT DURER : THE CANN N ETCHING OD N N GRAVING ; THE METH IS U CERTAI ’ PAGE RE MBR ANDT: THE GOLD WEIGHER S FIELD

1 42 THE GRAPHIC ARTS too the design , and a single line added would be one many . This use of expressive , Vital , necessary line is the characteristic of great etching and great etchers . Rembrandt made other and quite different landscape etchings . This is one I think I can call ”

T . the most notorious , The Three rees The trees

S0 . are rottenly done, and is the foreground The bit of middle distance is exquisite . The composi i s as Sk tion wonderfully arranged ; and for the y, that is one o f the most amusing things . Some authorities on the art o f etching say that rain ff on o . You is coming , and others that it is going a can take your choice . I s y that the clouds are very beautifully drawn , but what they are doing ’ ’ I don t know ; I don t know what the storm is

o r . doing, whether it is coming going i There is a very cur ous thing about this plate, and that is those perpendicularly ruled lines for rain . Now in all Japanese prints the same lines are used for rain , and I wonder more and more whether Rembrandt gave the idea to the Japanese— whether some o f those Dutch merchants who made their way ou t to the East carried this print and were the means o f giving this idea to the Japanese— or o t whether Rembrandt g his idea from the Japanese , from the prints which the merchants may have brought back . There they are , in both Eastern o f and Western art . I do not think any the learned T experts have ever referred to this before . hey usually do n o t refer to the things that are character i s ti c and worth referring to . One of the other amazing plates that Rembrandt “ ” did was the Six Bridge . This , we are told , is o ne of the best of his etchings ; it is o n e of the worst . I would defy you to tell me on which Side of that ETCHING 1 43 a o f canal those trees are growing, or wh t kind trees

or . they are, what is the matter with that boat

The bridge is not so badly done , and there is a little bit of beautiful work in the distance ; but just because an old master did some great plates is no reason why we should fall down and worship all , as all the authorities do except myself— I suppose

I am no t an authority . I am often told I am not h to by those w o are not . But I refuse accept this as good work .

There is a story about this plate . The story is intended to show the time it takes to do an

o f . etching this sort , or a better one I do not believe that Rembrandt took any longer over that ’ wonderful Gold Weigher s Field than he did to

— i make this mess f he did make it . He was said to have been dining with his friend , the Burgomaster o f or o r Six, and the bottle schnapps beer mustard

o r h ad . something been forgotten , and it was sent for While the servant was on the way fo r it Rembrandt pulled a grounded plate ou t o f his pocket and pro u d c ed this masterpiece on it . I t would have been a great deal better if the Story had been carried o n a little further, saying that he bit it , anyway that they were dining in the gutter, as the perspective S hows , and that he carried a printing press around with him and printed it while they waited . I t is out o f such nonsense that art history is manufactured . “ On the other hand , the Beggars at the Door ” o f a House is o ne of those ﬁgure studies by Rem brandt as marvelous in design as the Gold Weigher ’s

Field . In this he has rendered the beggars at the a r ali i door in both a dramatic and e s t c fashion . I t o n e o f o n e is the masterpieces of Dutch art , and of the greatest etchings of the sort that has ever been 1 44 THE GRAPHIC ARTS done ; yet it is scarce ranked above the drivel o f his imitating successors by the authorities . The two great etchers were Whistler and Rem brandt , and this I am going to prove to you by o n putting these two plates the same slide . If o n e there is vital thing about etching, it is that n o t the artist must try to imitate somebody else, own but be himself, and do his work in his way, or

n o t — he is an etcher and most artists are not , though the world is ﬁlled with etchers today . Still I do n o t think that since Rembrandt there have been a

- half dozen great ones added to the list . Whistler o f was one , and a greater than Rembrandt in his use vital meaning line . You can s ee these two plates were done from Virtually the same spot— a t least the artists were on seated the same spot , Rembrandt looking toward hi s Amsterdam , Whistler sitting with back to Rembrandt etching the country toward Zaandam three hundred years later . What I want to point ou t to you is the totally different way that the two men treat landscape . Rembrandt works right up i n to the foreground, and also elaborates the town the distance in great detail . Whistler always believed that the spectator ’s attention should be concentrated o n the important spot and the rest of the subj ect ignored . The windmills in his subj ect are the important things and those are all he has drawn , only suggesting that boat tied up to the edge o f the canal . But what those plates do

on e i s - ff Show, as well as the next , the di erent way ff in which di erent artists work . Unless there i s this ’ individuality in treatment there is no art . Whistler s handling is far more direct and simple than Rem ’ brandt s ; he gets more with fewer lines .

E N E D T O E OP . PAGE 1 4 7 R E MBRANDT: CHRIST PR SE T THE P LE E TCHING ETCHING 1 4 7 Here is another comparative slide (Page ’ i s o f This Rembrandt s amazing portrait his mother , o n e o f the ﬁnest things that was ever done in etching . ’ o f o f his Alongside it is Whistler s study niece , little

Annie Haden . What I want to point ou t is that o n e so man did his work in his way, and did the other . There is no attempt to imitate . Both are s aw o n e trying to do the people they , his mother , and one his niece , and each made an immortal portrait in his own way . Both o f these men were great draftsmen , great craftsmen , and that is the

ﬁrst necessity before you can become a great etcher . ? How many Of you students try to do this Yo u try to copy your i nstructor — or someone who is the fashion of the moment — n o t to study good work ’ and be yourselves . If you don t do this you will not ’

Of . do anything . Most you won t for Rembrandt cared more color , Whistler more i s for line , but etching a line process and Whistler is the greater master o f line . The Christ Presented to the People (Page 1 46) o f is a glorious plate . I know nothing more mag n iﬁc e n t in manufactured etching than this plate . o n e o f Almost every those ﬁgures is an outline , and yet every o n e o f those lines i s full o f expression .

Still it is not spontaneous etching . The composi s o tion is perfectly arranged , and is the drawing and the biting ; and to bite a large plate of that sort , as i s fﬁ Rembrandt has done , an amazingly di cult thing . He carried this plate on through several hi or . s states He did not bother head , trouble him hi s self at all , nor did any of contemporaries , abou t o f local color and costume . Instead the building i s being in Jerusalem , it a building probably in o f Amsterdam ; and the people , many them Jews , 1 48 THE GRAPHIC ARTS are dressed in the clothes they wore in the ghetto

A . of msterdam Few artists at that time , when c om o si to n they went in for historical p , cared any o r thing about local color historical accuracy . What they cared about was to do their work as well as they could, building it up from the material they had ; and Rembrandt did this supremely well . Still the highest form o f etching is sketching— and not making potboilers . “

The C . Here is another, Three rosses In this plate there is more attempt at costume . This is ’ on e of Rembrandt s most magniﬁcent plates which are compositions , religious prints made for dealers “ made to sell . Whistler said that the big plate is ” ff to an O ense . He never intended, I know, refer S to in that tatement Rembrandt , because he admired Rembrandt enormously ; he only referred to the ou large machines with which , if y walk down Michi A gan venue, you can see that all the large Shops are f or . A o decorated, plain in colors nd that kind work is o o f rotten w rk ; therefore it is popular, and the kind

— thing some o f you would like to do because it pays . o f But the sort thing that Rembrandt did, like ” “ ” C The o f The Three rosses, Raising Lazarus he ' o f (if did it) , and a number other plates , were religious prints which were published and sold just as sporting prints are sold today ; only then religion rather than golf was believed in and practiced . There is n o on e among us today who amounts to anything who is doing anything in the way o f reli i ou s g art ; but , as I say, religion was then a popular subject , and these prints were religious propaganda and were perfect examples o f what could be done by

. no t etching Yet they are spontaneous , but built up with the greatest thought , care, and elaboration .

1 5 0 THE GRAPHIC ARTS Another man who lived a little later in England i s is Hogarth . This plate ﬁnished with the graver .

Hogarth began his plates, which he carried on during

his . all life , nearly always as etchings But they were all ﬁnished by himself and his pupils with the

graver . He probably etched the subj ects ﬁrst , as

Van Dyck did, his pupils and assistants ﬁnishing the

published plates . I want to Show you just for a minute— though we on are going to have a press here , Thursday, I hope , and try to do some work— how the men in the past made 1 1 1 1 2 etchings . These plates (Pages 3 5 , 5 , and 5 ) ’ were taken from Abraham Bosse s Book on Etching . You s e e the etcher biting his plate which has been

grounded , and drawn upon ; and acid pouring over it runs down it and into the trough below— just as

- the photo engraver works today . The other man is i s drawing under a screen . The screen used in order to diffuse the light and let him s ee the lines in the

copper plate . This youngster is heating something,

probably making etching ground . There is a man

biting a plate , at the back of the print, just as we

do today . These plates from Bosse show us more of

technical methods than any number o f descriptions . as In the old days , instead of using a bath we do o f now, a border wax was put around the edges of

the plate after the drawing was made on i t, and this wax border retained the acid which was poured

o n . was the plate I t a delightful method, I know, or because I have tried it once twice myself, and the beauty of it is that the acid leaked ou t o t on under the wax, and it g your clothes , and burned your ﬁngers ; nevertheless here in these prints is the proof o f the way the old men bit their

plates . B O : O . N PAGE 1 5 0 A . SSE ETCHERS AT W RK ETCHI G

N N D . PAGE 1 4 9 V A N D YCK : FRA CI S CU S S Y ER S ETCHING I

N . O : P N WO . PAGE 1 5 0 A . B SSE THE RI TER AT RK ETCHI G FR OM AN OLD PRINT

1 5 4 THE GRAPHIC ARTS o f old visit there , and certainly by numbers the

I talian engravers , and certainly also by Whistler and Duveneck . I worked on it myself. The performance of that press was magnificent . The bed used to move about halfway, and then it dropped ’ ou ou t o f about a half an inch , and if y didn t get on the way quickly enough you got the bed your toes . Another etcher o f the eighteenth century was i fin Pi ran es e . Although most of his pr nts were i shed I o f o f with the graver, still n a series etchings “ The s e t o f Prisons of Rome he made a designs , and very unrealistic , but very dramatic , justly regarded as of great importance today . Cho dowi ec k i who , a Pole, was another workman illustrated a vast number o f French books during the eighteenth century, with a great deal of grace and o f the greatest perfection craftsmanship . And then came Thomas Rowlandson (Page Y u He etched his designs . o can s ee the lines through the tint upon them . Those lines were first etched, and then on the top o f them a ground called aquatint the was placed, which gives a tone to whole plate,

. A and adds richness in printing qua'tint was put on beca use the etcher wanted a tone o n his plate and G could not trust the printer to get it . oya also made many aquatints (Page His design is better than his technique . In the early part o f the last century many very ﬁne designs were made in aqua tint . The art is to a certain extent lost today, but it is being revived . ’ I showed you some o f Blake s wood blocks last n k o week . Here 1 s o e of his etchings from the Boo f ob o n e o f i I 7 , the most impress ve things ever done n I art . And this design S pure etching . I am told it is engraved . But on the outside of the design he D ON O . PAGE 1 5 4 T. ROWLAN S : THE S FA AQUATINT

P 1 M : N O OF RN AND AGE 5 8 J . . W. TURNER THE JU CTI N THE SEVE O “ B STUDIORU M” THE WYE . FR M LI ER P . O : . OM PAGE 1 5 4 F . G YA THE WITCHES FR THE CA RICES AQUATINT AND LINES

1 5 8 THE GRAPHIC ARTS scraping down the ridges and b u mps and roughnesses that cover the face o f the plate ; and finally when it i s is scraped down the design done , thus leaving more o r less o f the roughened surface which holds T the ink placed On it . his is mezzotint . Turner for his Li ber Studi or um (Page 1 55) did the etching for many o f the plates himself; a few o f them he also scraped . Here is an etching by him which shows the first stage (Page Look how every line means something . I t shows that he was a great etcher , because he drew lines which have was for meaning . The etching a guide the mezzo T tinter . hrough the roughened surface he could s e e ’ Turner s lines , and with the etched lines as a guide he scraped the subj ect ou t . You This i s the finished plate . can see in various places in the tree trunks , and in the distance, where o u the etched line has been used , and y can see in the extreme dark where the roughened ground has i been left untouched . That s what the French call ma n i er e n oi r e the , the black method , the manner

Of drawing with the scraper from dark to light .

One man who has to come in as an etcher ,

n o t . although we may think it , is John Ruskin ou o f Think what y will Ruskin as a writer, and I must s ay that I think o f him with very mingled o f feelings , except as a master beautiful English there i s no question that John Ruskin was an who artist , a man , if he had not written , would live

hi . i by s art This s being recognized . In this plate is great feeling for form expressed by simple ff i line in the drawing of that sheer cli . It s a masterpiece . And the British are for the ﬁrst time w as honoring Ruskin , because this winter there , in the Royal Academy, a Show of his work which ’ W. U N 1 . M . PAGE 5 8 J T R ER : ST. CATHERINE S HILL . ETCHING FOR MEZZOTINT TO SHOW THE WO RK

W ’ P . : . E N . O AGE 1 5 8 J . M . TURNER ST CATH RI E S HILL MEZZ TINT N ME RYON : O N QU . PAGE 1 6 1 C . THE C LLEGE HE RI ATRE ETCHI G

DR Y PO N MOU D N : UN IN ND. PAGE 1 6 5 F . SEY R HA E S SET IRELA I T

1 6 2 THE GRAPHIC ARTS C The ollege Henri Quatre (Page however, is c er t ai nly the most wonderful study of a great city etched by an artist . The way in which he has got o f the feeling Paris , receding into the distance , i s street beyond street , and house beyond house, o n e something that no before had ever done , not even Durer, and no one since has ever attempted or probably ever will succeed in doing . Yet it is no portrait o f Paris — but it is Paris — all through it o f there is that curious thing about him , that spirit o f madness . And in some the early states the town ff is about half drawn , and in the distance are cli s and mountains and farther away is the sea, and any number of strange creatures are in it , proving that he , when he was doing his most wonderful i . s work, was insane Yet there nothing in the whole o f etching to touch the distance he put in the city . And although Hamerton said that this was all done from nature, the mere fact that he had in one state a background o f sea proves how little Hamerton o n knew what he was talking about that occasion . ’ “ Meryon s San Francisco is another of his i n cred V o f ible iews cities, and no one knows whether he ever saw San Francisco . This is a form of etching that was greatly pr a c

— an ticed in England illustration from Pickwick . ’ I t doesn t matter who made it . I t might have been C or o f made by ruikshank, by any one a number of others ; it was done by Seymour . But that is the kind o f thing that your grandfathers were brought on up , the few of them that came from England, and o f that is the sort thing that was taken seriously . That England ever survived it is something I cannot o f ff understand, but everybody took that sort stu

o f . seriously, instead Hogarth How the country N MOU D N : KIL GAR EN T . PAGE 1 6 5 F . SEY R HA E CAS LE ETCHI G

O L ABORUM

IM DU LC E. L E N E N

O DE : ND E N . PAGE 1 6 6 F . SEYM UR HA N HA S TCHI G ETCHING DU E N K : O . T N PAGE 1 6 7 F . V EC THE RIALT E CHI G

W E : B ON WH . MeN . PAGE 1 6 9 J . A . HISTL R LACK LI ARF ETCHING

1 6 6 THE GRAPHIC ARTS ’ n o f as Rembrandt s lines mostly did . This is o e ’ Haden s smallest and one of his best plates . Haden o f was a worshiper Rembrandt , but in his best plates he was himself. i s o f Here another, The Breaking Up the ” Agamemnon , a composition which he made, he on G said himself, when his way to a dinner at reen hi s wich . He was all dressed up in evening clothes on and going down to dinner a steamboat , when to he happened see this great composition , and he o t off o f g the boat , pulled the copper plate out his

- coat tail pocket, did the etching, and lost his dinner . I happened to be lunching in hi s house when he told this story, and another Scammon lecturer , Mr .

Hopkinson Smith, was also there , and when Haden “ told the story Smith said to him , If you can carry a copper plate large enough to do that o n in the o f pocket your evening clothes , what sized copper ’ plates do you carry along in your ordinary clothes pockets ’ ’ ’ I don t believe Haden s story . I don t believe the plate was done from nature— that upsets my theory— not at all ; it looks as though it was ’ ’ Rembrandt s does no t . Haden s line means some ’ — thing Rembrandt s does not . This plate shows how

Haden held his point . He worked with this huge instrument which I wouldn ’t want to have anything t o do with ; an d those are the gravers and dry points which he used . But the etching is really a ﬁne thing as well as a valuable record of the

- way he worked . It is the title page of a collection of proofs o f hi s etchings published in Paris about

1 8 60 .

Now I want to talk to you about the plate .

I t is ﬁne because each line means something . Look ETCHING 1 6 7 at the stunning way in which he has drawn the

movement o f the Thames water . And those o f you who know the Thames know how well it has been

done, how perfectly it has been expressed . There i s no tone o n the drawing o f that old hulk against i s as the light ; it all in outline , just Whistler did in those Blue and White Porcelain Pots that I showed

you the other day . And look at the color of the You f su n . o setting feel the color the sunset , you i s feel the whole thing, yet it all in line ; but each line means something and i s drawn with meaning and

. ou bitten with skill I f you do not feel it, y will never ’

o f . be able to understand etching . Most you won t Another man who followed Haden and preceded Whistler in Venice was Duveneck (Page and I of he made n the seventies a series of plates Venice ,

and also some in Florence . At the ti me these etch ings were stupidly or maliciously supposed by people who ought to know better — and o n e was Seymour

— Haden to have been done by Whistler, who had

been sent to Venice to etch the city . o f This was an entirely new View Venice, and all o f the plates made by Duveneck in Venice were i an d new in V ewpoint handling, and you should

study them all . Some of them are upstairs , and a

complete collection is in the Cincinnati Museum . He is o ne o f the least known o f our artists I n America

today, but he will live in the future when some of

- ou r high priced geniuses a re forgotten .

And n ow I come to the biggest man of all . And

whether you like it or not i t is a fact . And that man

M N ill . . c e was James A Whistler He was trained , and

trained thoroughly and carefully and accurately, and he was trained in the best schools that we have in the United States o f America as art schools ; 1 6 8 THE GRAPHIC ARTS o n e C S . was West Point , the other the oast urvey

He learned to draw at West Point , to etch in the

Coast Survey . And while he was at Washington he drew the coast line and profile of a map , but wanted to see what would happen if he drew and o n bit certain faces and figures the copper . He no t found out , and he also found out that he was to waste government copper, and in order to make ’ sure that he wouldn t waste any o f it in the future they sacked him . But he remembered what he had learned , and he went over to Paris , and produced in a short time , with the knowledge he had gained, o f a number fine plates in Alsace and Paris, when “ r T he w as about twenty years of age . These a e h e S ” French e t . ou If y remember, and keep it in your head , ’ “ ” s ee Rembrandt s Mill , here you will is a some what Similar subject , and yet there is far more go , R far more life , and far more color in that than em brandt ever go t . In this he went far beyond the o f Dutchman , and so he did in a number the other “ ” early etchings o f The French Se t . “ o n e This is a curious , Street in Saverne , because it Shows that from his earliest years Whistler loved o f the beauty the night , and began by trying to etch it . And yet that is done in a very Simple fashion . Some of the lines are meaningless , some o f are scribbled and some them are very mechanical , o t but he g what he wanted , and he rapidly learned

ho w . to etch with the fewest , the most expressive lines This study o f a wine glass i s done frankly and ’ “ ” o f S purely in rivalry Rembrandt s hell . Both f are examples o splendid technique . One o f the most exquisite o f his early prints is o f bo so n o f his only the study a small y, the landlord

1 7 0 THE GRAPHIC ARTS S done with the greatest implicity, and yet every e single line tells , as every single lin does in that longshoreman who 18 sitting in the barge . ’ That is o n e of the great triumphs of Whistler s early life . He said he did not like it , but I do not agree with him . H all ou t e told me that it was done of doors, and the drawing Of the background took him three weeks . He never did anything except from nature . He never was able to work except when he was or working from nature , a model . o for G J was his model the various White irls , the little and the large ones . And She had evidently

for s he ou t . been posing him , and this day was tired Fo r though he was the most kindly and gracious o f men , and most considerate to women , save when o f they were posing , he thought then nothing but hi s . A v work nd Jo , e idently tired out after an so hour or of standing, threw herself in a chair, and there she rested . But he never stopped ; he found a plate and made his dry point o f her . Every change was a new subj ect for him , and this print “ ” o f o J , Weary, is the most exquisite portrait that was ever done in dry point in this world (Page Everybody is beginning n o w to believe me about i u s . Yo this , and it the truth can ﬁnd nothing to touch this plate for sheer beauty by any artist I n any age . to Whistler went , after various experiences , Venice , and if you can remember that plate by Duveneck you can see how differently the two men treated the same subj ect . Yet at the time they both lived very close together in the same city and in the same part o f i t— and they both etched ff " the Riva , but how di erently If I could have the Y. DRY PO A . Me N . : PAGE 1 7 0 J . WHISTLER WEAR INT 1

NN D N IN . Mc N . : PAGE 1 6 9 J . A . WHISTLER A IE HA E THE BIG HAT ETCHED AND DRY POINT LINE

1 74 THE GRAPHIC ARTS And there was another curious thing about his

Of . work , the drawing it He always said that he began with the most important part . Probably he began in this plate with the bridge, and drew it o f in completely, and then ﬁlled in the rest the design o t for as he wanted it , but he g the bridge right , in ou to ou etching y cannot add . your plates as y can o u h to paper or canvas ; y must place t ings right . He always called it the Japanese method of draw ’ ing . I don t know where he got the idea , or whether the Japanese had any such idea, but he always said he believed it was the way they worked . If you asked a Jap he would tell you it was so but whether Hiroshige worked that way he would not know . ’ Whistler said he couldn t draw architecture . I don ’t know who could have drawn this Venetian house better . This old doorway has been rendered by him in a h as fashion which no one ever approached, though ff b many have since tried . Look at the di erence e

old - tween the water worn stone work at the bottom , and the rusty iron work above, and the way the whole design has been made into a decoration , with “ Th e his monogram of Butterﬂy crowning all , f harmonizing with the rest o the work . The richness and depth o f shadow within that doorway A is almost unbelievable . nd in several of the prints s o the water is altogether painted, strengthening and giving accent and support to the architecture . Many people will tell you that the etcher should never us e printing ink as paint as it has been used to “ ” o f ff Th e get richness e ect , as in Doorway (Page

The etcher should do whatever he wants, if i s he can do it, both in biting and printing and it a DOO . MCN . : , PAGE 1 7 4 J . A . WHISTLER THE RWAY VENICE ETCH ING OW N P N IN ON , SH I G RINTI G T E PAGE 1 7 8 WHISTLER AT HIS PRESS

1 7 8 THE GRAPHIC ARTS Here he stands beside his printing- press (Page 1 He always wanted someone by him when he worked and was most kind in allowing on e t o see how he on e on e worked, and in helping and teaching every thing he knew . There were no secrets with Whistler . “ As he once said when somebody told him , There ” “ ” “ n o is secret in that, Yes , he said, the secret ” A is in doing it . nd that is where the secret comes f . A too o in , in all art nd as he said printing, if you ’ ’ don t know how you made a good proof and can t do it again what was the use o f doing it at all ? Br ac u mon Another etcher was Felix q e d . He o f was a contemporary Whistler, and did some great o f plates . His studies birds are ﬁne, like this wa Raven . But his greatest work s done in por ’ tr ai tu re , in copying other men s work , though his own portrait (Page 2 1 4) and that o f the De Gon c our ts rival Dii rer in their way . Another extremely interesting artist was Felicien Ro s p , who used aquatint and dry point in an i extraordinary manner . He s a very great tech

n i ci an . to o f You want look up his works , which there are reproductions in Ryerson Library . C 1 i s Mary assatt (Page 79) another notable ﬁgure, “ ” and this is a dry point o f a Mother and Child which belongs to the Museum . Many of her plates were intended to be printed in color . The color was S o n light , just washed , more like a Japanese print . o r She worked the color in by hand , had some very clever printer assist her in doing it . Some of her prints are most charming , not only in line, but in color . Most color in etching is abominable . Black ink on white paper was good enough for ” to for ou Rembrandt ; it ought be good enough y ,

Whistler said . 1 8 M M DRY O N PAGE 7 ARY CASSATT : OTHER AND CHILD . P I T PRINTED IN COLO R 1 8 1 . O : OU N N B N PAGE F BUH T C TRY EIGH ORS . ETCHI G

1 8 1 . ORN : PO OF N N N PAGE A Z RTRAIT RE A . ETCHI G

1 8 2 THE GRAPHIC ARTS ’ o f full of it . And this is the case in almost all Zorn s o f work . Those coats and things , instead being or R drawn as Whistler would have done them , em

brandt would have done them , with the fewest and

most expressive lines , are fumbled and elaborated, o n a r i and scribbled . The only person who can pp ec

ate useless line is the collector, and he pays an

awful lot of money for his appreciation . “

i s Th e . Here Toast Look at that oily, smiling

face o f that professor wonderfully done . But look

at the awful coat again . There is absolutely n o

ol - drawing in line in at all . That d crumpled u " it p so hand is most amazing, and is the glass in it .

But he could have put , as Rembrandt did , the on e whole feeling in it , without putting a single of

those meaningless lines in . And that is where Zorn

is altogether wrong, and if any of you follow Zorn in ou this way y will go wrong, and ten times more i s wrong, because there nobody in this room who can h m follow i . Lepere (Page 1 83 ) was on the other hand an hi s o f h as etcher, and in Study Amiens cathedral he

m . ade a great etching He died a few months ago .

He was a very skilful craftsman . And here is one o f old ff the markets near Notre Dame, with the e ect

of morning sunlight supremely rendered . He treated landscape in an equally interesting fashion . to I wish I had the time Show you more . I will on e i s Show you the work of big man , and that Louis Legrand (Page In these soft ground or aquatint plates he has produced some amazing studies o f peasant life which you ought to see . There are any ff e number of those, di er nt from the work of Mary C assatt , and equally interesting . Each keeps its

c an . character, and without character there be no art ’ ’ O D INV E N HEDR ALE D M N , PE . CAT PAGE 1 8 2 A . LE RE A IE S J UR E T N TAIRE . CHI G 1 8 5 M D B ON : O O N PAGE UIRHEA E RVIET . ETCHI G

PAGE 1 8 5 FRANK BRANG WYN : ETCHING

1 8 6 THE GRAPHIC ARTS n work o . And in the other talk that I am going to give I can Show you what making etchings means . I t means working like a slave . But it is a delightful slavery, and it is work that I love , and on e t o I love to do the whole thing, from end the o u n o t fo r other . If y do care that , if you take up etching and do not ﬁnd the biting as fascinating as the drawing, and the printing as enthralling as

an d . ou the bi ti ng , you are not an etcher y never will be .

THE ETCHER MATHEY : PO RTRAIT OF FELICIEN R OPS TH E G R A P H I C A R T S E T C H I N G

THE METHODS FOURTH LECTURE THURSo DAY APRIL 1 5 1 920 AST Tuesday I showed you a number of print s which are universally admitted to be the

greatest that have ever been made , because in studying any art what you want to study i s good 1 8 8 THE GRAPHIC ARTS

work only . And that is what I have been showing

you . But in etching there is another and an equally

important part , and that is the making of the plate . e Unl ss the artist does the whole of this , unless he on not only makes the design the plate , but etches

i t— i s that , bites it into the metal , and then

i t — h e I 1 3 ff prints s not an etcher , he only a du er, a

shirker, because if he does not do all the work it U s o sually is because he cannot do it , and he hires

so meone else to do it for him . We know that from the time of Rembrandt artists have always done ’ o f all the work etching , although I don t believe

that Rembrandt ever tried , as I am going to do ,

to make a plate before an audience . Well , I am to t going to try do it , and I have two intelligen

people to help me . And even the three of us may fail to produce it ; at any rate we are going to

have a go at it . And I am also afraid that you will not be able to s ee a good many o f the different r I o pe a t On s . The ﬁrst thing which it is necessary to have in order to make an etching i s either a zinc or a copper C plate . opper has usually been used , from the C beginning . ertain other metals have been tried . Dii rer As I told you the other day, made etchings ’ upon iron , but from Rembrandt s time copper has

been almost universally used .

We have been trying, within the last few years ,

to get some substitute for copper, and zinc has been : greatly employed for two reasons One , because it i s very much lighter than copper, and, if you are ou t o f ou going to make plates doors , y will ﬁnd that copper plates are very cumbersome things to carry

about , and that zinc is very much lighter ; and

the other reason is that it is cheaper .

1 90 THE GRAPHIC ARTS o r plate on the heater . I t will take a minute two to heat up . ho t On the plate , as soon as it gets , you rub this o f o f ball ground , which is made , I believe , tallow and varnish and black — I do not really know what it

o f for n o t . is made , the makers will tell me And ’ they won t tell you , either . This ground which I u se is made by Weber o f Philadelphia and is better than you can make . The etching ground is an

- o r acid resisting varnish , which must have three four necessary qualities ; the most important is that it should resist the acid . The varnish also must be put on s o thinly that you can draw through it i n s tru in any direction with a needle point , a small i s ment made o f steel . This is the sort that mostly

- used . It is a double ended point,and the drawing is made with either one o r the other end through o f n ow the coating varnish , which I will try to put o n . I rub the varnish on the edges of the heated ou plate as y s ee . The plate h a s to be fairly well heated before the varnish will melt . Electric heaters are not

. on e very good The proper is made like this , but has gas j ets under it , and they give a much stronger ou and more uniform heat , and y can regulate such a heater better than you can this electric burner . The varnish is put on around the edges in a layer, and as soon as the plate gets hot it melts very o f on e easily, forming a layer varnish after gets it all around . I never tried one o f these electric things before , and I am certain I never will again . The etcher, to judge if the plate is hot enough , either o r touches it with the varnish to see if it will melt , o n he spits it , and if the saliva jumps about, it is right . ETCHING 1 9 1 T ou o f hen y take a roller this sort , a rubber roller fitted into a wooden handle, and by rolling the ground off o f the edges and all over the plate' you will in a very few minu tes get the entire plate coated with it in a very thin layer , and that surface of varnish is what you draw o f through , and it protects the parts the plates n which are n o t drawn o . The roller worked in this fashion makes the ground S tick very firmly r to the zinc o copper plate . The more you roll i t the thinner and the more smooth the surface becomes . I t requires only a very thin surface to t protect it , but you must cover it all over, for whe ever there is a hole in the varnish the acid will bite in and make a hole in the plate , usually where you do not want it . A on ou s soon as the ground is , y take half a dozen wax tapers , light them , and holding the so fl plate varnished side down , that the ame from ou the tapers does not touch it , y pass the tapers back and forth under the plate in every direction , do no t and if you burn your fingers , as you will ou frequently, y get a perfectly black surface all over it in a minute or two . This is quite black enough

no t . You now . It is absolutely black want it only s o dark that you can see the lines when you come ou u to draw on it . If y burn it yo have to wash it ff o with turpentine and ground the plate again . This 18 the method o f commencing to make a bitten plate . But there are a number of other methods which can be employed . One which is

i s . o f much used dry point That is , instead ground ing the plate as I have done some artists smoke it T as I did . hen you take another point , a stronger n i s and a heavier one, a poi t which very hard and 1 92 THE GRAPHIC ARTS heavy , and make your drawing, as these drawings c o have been made , digging into the ungrounded p C i s for per o r zinc plate . opper better making dry ' n i s s o so b ri t tle t h a t poi ts , because the zinc soft and when you come to run it through the press the o f ridges metal I told you about the other day, which are thrown up o n one side o f the line as you ff on o . draw the plate, will break I f you want a ou ﬁne or grey line y hold the point vertically, but if you want a very deep or black line you put your u se point down at an angle to the plate , and more ou muscle . And when y get it down in that dirc e tion , more metal is thrown up at the side Of the o f line . This ridge metal is called burr , and it is this ridge o f metal which holds the ink o n the plate n in pri ting and gives color to dry point .

There are many other methods o f work . You may make what is known as a soft ground etching . You take this ground , and melt it and mix it with about the same quantity of tallow . I t will never ou o n become hard , and y put that in the same way the face of the plate with the roller and smoke it, and when the plate becomes cool you put a Sheet of rather on o f rough drawing paper the face it , and draw

ﬁr-ml upon the paper, which should be put y down upon the plate ; you can fasten it down by wetting on o f o n e it , and pasting it the back the plate as S tretches paper for watercolor , and then draw with o r or n a pencil with hard charcoal chalk o the paper .

The point penetrates the soft ground underneath it , and when you take the paper off you lift off the ground too and you will ﬁnd your drawing in line on the metal plate shining and glittering , and then it is bitten just as we will bite this o n e in a minute .

R OPS : D O . F . THE EVIL VER PARIS ETCHING N D : N . Q PAGE 1 8 2 LOUIS LEGRAN MATER ITY A UATI T ' NN : P P N D N ( E PE D M . LALA E LATE RI TE CLEA L FT) ; WI WITH T N N I T (RIGHT) . ETCHI G

1 98 TH E GRAPHIC ARTS more, and then paint darker parts out with varnish , going o n in this way until you get to your extreme i s ffi o f dark . I t a very di cult process for most us moderns . - ‘ But there must h atfie been a m e th od which has been completely lost , for at the beginning of the last century there were a large number o f very won er ful u bli s h ed ‘ v er d aquatints made and p y cheaply, and very widely , in England and in France , and there must be some practical method of doing ffi for the work which we now find so very di cult , the artists o f that day did n o t seem to have had any trouble at all . I t may be that this new method

to ; is the right . one ; I am going try it The other day I saw the results which were very interesting . Another method which somewhat resembles aqua tint is sandpaper ground , and that is very much ou more simple , and easier to manage, and y get stronger and richer effects . You take a grounded o n copper plate and lay it the bed of the press , then o f or lay over it a sheet sand emery paper, and run sandpaper and plate three or four times th rough the press . It is grounded in the ordinary way, just as I grounded that plate ; and after you run it three or four times through the press , the sand paper that is placed on top o f it breaks the ground into little granulations , and then you paint with on liquid ground your design the surface, biting your darks more and more strongly into the plate . fﬁ to It is rather di cult manage, because you must ou one o f know exactly what y are about , and the things in all etching is that you have to be sure o f what you are trying to do ; you cannot experiment ou o r much with the plate ; y hit miss . Some people

‘ o f have endless patience , but I never heard an ETCHING 1 99 You or etcher who had any . either get things you ’ ’ don t , and you usually don t . I speak from a life

time of experi ence o f failures .

Whistler dreaded this work , because when he had made his beautiful dr awmg on the plate there was a o f chance spoiling it in the biting or in the printing , but the artist who does not carry ou t every part o f

the work is not an etcher, and he never will be . I should have grounded this plate about twenty four hours ago and let it stand until now to let ’ the varnish cool and harden . I don t know at all what will happen working o n it so soon . You take the point and draw with it as you would draw on any other surface . There are only three or four things

ou . to remember, and those y must remember The drawing you make on the plate 1s not the print you ff are goi ng to get o the pri nting press . The draw i s n o t o f i t ing the end etching, is the beginning, I ou and n order to get lines to pri nt properly, y have to think o f the way in which you put them down . The ﬁrst thing you have to remember i s that as these lines are bitten into the plate they enlarge ; there i f fore , you wish to make a plate which has a very ou delicate distance , y can draw those lines which produce the distance very closely together, but if you leave them exposed to the acid for more than two or three minutes they will probably, even with the best of grounds , all bite together into a dirty o r a on black mess , rather , grey mess , for the ink ou few the surface , as I will Show y in a minutes , is o f no account ; it is the ink which goes into the lines themselves that prints . And the lines have a curious way o f acting .

As the acid bites into the copper (nitric acid , I ’ use s o f ) , eating down , i t bites into A this sort , 200 THE GRAPHIC ARTS too and if you have enough of them , close together, you will ﬁnd that your surface instead o f Showing delicate lines , will be a dirty mass , the acid having bitten the lines all together . Therefore the deeper ou y want your lines bitten , the farther you must place them apart .

That is the most important thing to remember, o n or about drawing copper any other metal plates , that the print is made from the ink which is con t ai n e no t d in the lines , the bitten lines , the ink which is on the surface , as in wood engravings ; it is the ink in the hollows o f the lines which the press forces ou t . I cannot really pretend to make a drawing in on e the time I have , but this young lady can make while I am going on with preparing plates . I t is ’ so difﬁ cult that I don t want to make a mess ou t of it .

After the drawing has been made , and it should all be made with the same point , it is immersed in a o f or a b th nitric some other acid , and the ﬁnest o r lines are allowed to bite only for a minute two , o n then varnish is painted these light lines , the middle distance is bitten twice as long, and then

ou t - o u t that is painted with the stopping varnish , and or o f i s the foreground, the part the design which to i be the strongest s left in the bath the longest .

There are other ways of biting plates . One , which is a very interesting method, is to commence

— by drawing the darks ﬁrst , and biting them the u darks of the design . You allow them to bite ntil you think they are bitten enough , then draw the lighter lines over them . The whole is a matter of

- guess work backed by experience , for the biting of a copper plate not only varies with each day, but

202 THE GRAPHIC ARTS because frequently i t does not do anything, at least u in the beginning . The varnish protects the ndrawn of on parts the design , only those parts which have been drawn on , exposed metal under the lines , will be acted on by the acid . One has to coax it about on to make it bite . I t is biting the back beautifully .

And now it is biting in the design . I know this because there are bubbles rising ; they Show the acid i s at work on the metal . This ground is so well made that you can draw I in any direction through t , and yet it does not r o n o f crack o break up . That is e the most impor tant things in a ground . After you have bitten the plate it is necessary s ee as to dry it to what you have done , nearly as T on possible . hen if you hold it up the level with s ee your eye you can the lines , in shadow in the You black surface of the plate . can imagine that the ordinary etching is n o t made in quite this

o f . A free and easy sort fashion lthough , as I “ ou Si x told y , Rembrandt made that plate , the ” Bridge , while the waiter was hunting up the

- mustard pot in some remote part of the house . I am very much afraid that this plate will be pretty much on the same character as that— not a

— I great work of art do not mean the drawing, You s a because the drawing is beautiful . w the o assistant do it . I t is now bitten en ugh and I did not stop out the light lines ; I tilted the acid about . The ground can be dissolved immediately by off You s ee washing it with turpentine . , theo re ti c all y, what a remarkably simple process this part o f it i s . But in the ﬁrst place this ground to should have been allowed dry for at least a day, and then an hour Should have been taken , at least , ETCHING 2 03 for the drawing, and , as Rembrandt said about o ne etching, you Should take hour to make the on e drawing , and spend week with the stopping ou t ou n o t varnish , stopping out the lines that y do want to bite . But he , instead Of putting the plates o n into a rubber bath like this , which the acid has n o ff o f e ect , made a border wax all around them , and then poured the acid o n the drawing on the plate ; ff the border o f wax kept it from runn i ng o . The modern way i s to cover the back o f the plate with varnish o f some sort t o protect it from the acid — any kind o f cheap varnish that nitric acid will no t act o n will do — and then to immerse the S ou t whole in the bath , biting and topping as I have told and shown you . But it is very much more interesting and amusing o f on to take a few drops acid , as I did , pour it the bdu a t . plate , and then with a feather drag the acid

I t gives a variety to t he . li n es which you can get in n o other way . The feather is also used to brush away the bubbles which form on the lines and stop the biting . to In order print the plate , which will be the o u o n next operation , y again put it the heater , and then go to work with the ink roller . This is one form of ink roller, but there is another and a much better one ; the roller is in the middle , and there is a handle at each Side of it . That is the newest form o f etching ink roller . With a roller o f that sort you can leave a great o f I or ou mass solid black down here n the corner, y Ain eri c an can leave the lightest tints . I t is an

on e . on e invention , and an excellent This that I am using is an older form . This arrangement on the top is placed there so as to keep your hands 204 TH E GRAPHIC ARTS

o f . out the ink I never used a roller of this sort , and

I think I am using it rather cleverly . In beginning printing it is well to rub the Ink into the lines with your ﬁngers . When the plate is inked in this way you slide o n it to this wooden box , which stands alongside , and when the plate gets too cool you slide it back o n o f again to the heater , then taking a piece rag, o f folding it up , and putting it into the palm your hand— you will be able to do this after several years o f experience— you proceed to wipe the ink o ff o f no t ou t the the surface the plate and of lines , and I can tell you that i t is a craft that requ i res rather a little bit of experience . But the man , as

I said , who makes an etching must care j ust as much about the biting and the printing as any o ther part o f I t . There Is an equal amount of art i n every on e of the three stages o f making a plate in the drawing, in the biting, and ﬁnally in the printing .

And you may do anything in printing . Some artists maintain that an etching Should be printed or simply and cleanly, almost cleanly, leaving only a slight ﬁlm of ink on the surface . Others mai ntai n t o n I hat you Should paint the surface, n fact , you c an paint on the plate with ink , and then by dragging i t around , leaving some here and some there , you ff can get tlie most varied e ects . I do not think this plate is quite as much a work o f art as I thought it was . Still it is a practical demonstration o f the way I work .

— or Now, you can see from this I hope you can that the ink has been wiped off the surface of the o r ou t o f ou plate more less , but not the lines , and y must keep the ink in the lines , and doing that

206 TH E GRAPHIC ARTS off pressure , and also go into the bitten lines in the ou t copper, and draw the ink as the plate passes f A o . through . nd here is the work art In the first place there is not half enough ink in the lines — we can get a great deal more— then we can get them a great deal Stronger . But this is o f the whole theory, and the practice too, making ff o n e to etchings . I t is a serious a air , and not be lightly t rified with . But it is interesting to be able u to Show yo the way in which etching is done . There are many other forms of etching ; o n e very interesting method is to take a plain copper plate o f o f and then cover the face it with a coating ink, as t o I did before with the roller, then handing it the o f eminent artist who will now proceed, by means rags and paint brushes and anything which comes to handy, especially his fingers , make a design on

to . it, painting from dark light When that design is made— and he can do it in a very few minutes ; you can see how quickly he does i t — i t is passed off through the press , and the design should come

on . the paper That is called a monotype . But that is the way in which complicated printing is done , o r o n by leaving more less ink the plate . You remember those two Venetian studies by n o t Whistler that I showed you , though they were

o i — done s freely as Mr . Philbrick is doing t still that i s the method in which the printing by Whistler o n was done, by painting the design the lines which

o n e on . had been etched, as this was , the plate I can easily get an entirely diff erent effect out o f any o f or these plates in the same way, by leaving more less ink on them . Many people have carried mono typi ng t o such i n an extent that they make monotypes color, but ETCHING 207 it grew ou t o f this method of leaving a tone over the face o f the plate and then wiping the design ou t o f

that . Sometimes very beautiful results have been t obtained . (I ought o have someone to do the talk

ing while I am doing this work . ) Even the folding of the ink rag is a thing that has ou Ta to be mastered , because y have to get the g folded u p into a rather loose , soft pad , and in order to wipe a plate you must carry this pad in the palm o f your ou u s u hand . I f y e your ﬁngers yo pull all the ink o f o f out the lines , and the ability the great printer is to coax and to wipe and to paint and drag ink on the plate with this very sensitive mass o f inky rag . It requires , in order to do good work , a o f very great deal practice , and there have been very

few who have mastered it . Everyone admits at the present time that the greatest modern master of printing was Whistler ; even professional printers

have been compelled to admit that . A few years

ago they said he was all wrong . I t has been said by many authorities that Rem brandt never did anything o f this sort ; that he wiped o f his plates clean . But we have no proof that ,

and it may be that these prints , which were made o f n k o n three hundred years ago , had a tone i them , and the ink which was left on the surface dried to ou t dust , for at times when you take a print to

look at it , that tone has become dust and blows

away . I have heard of this happening after a

- ﬁv e print had been put away for twenty years , and taken ou t of a drawer or portfolio where it had

been kept . There are many other things that a printer does in order to get tone after he has wiped the plate on o f hi s nearly dry on the surface . By e motion 208 THE GRAPHIC ARTS o ff hand he wipes the ink the surface , and by another almost similar , but a reverse motion , he wipes it back again , but all that takes enormous practice . o f I f you do not care for the mysteries printing, again

I can only s ay you will never be an etcher . There are other ways o f making these fascinating o f plates . One modern form reproduction which I should like to refer to is rotogravure— which you a li see in the Sunday supplements . This is the pp r cation to rapid printing of etching . Drawings o prints are photographed and transferred to copper cylinders . These are etched as other copper plates , o n i s then placed the press designed for them , ink spread on the surface and in the lines , and then as the cylinder revolves a sharp razor blade scrapes the off ink the face of the cylinder , the ink in the lines coming out o n sheets o f paper as the cylinder i revolves farther . This s the method by which the rotogravure sections of papers and magazines are made . I t is a modern German method only half understood here— though used in most of the weekly papers .

Another scheme is that of printing plates in color .

This is very popular at the present moment . Vast numbers of these color etchings are made today . n T Most of them the artist had o part in . hey are a combination of misdirected energy and photog r h You ap y . can s ee several of them on Michigan

Boulevard this afternoon in the shop windows . I was told by one artist that he had nothing to do with them except to Sign his name and draw his check . He was very successful with that latter proposition . But if you want to become an etcher there is something more to be done than signing your name and drawing a check .

2 1 0 TH E GRAPHIC ARTS you do care for all these different processes which go to make up an etching, I do not think you will who ever become very great etchers , and the man n o t who does enjoy printing, and does not enjoy o f o f biting, has the chance enjoying only half the work . a The hour is almost up . If you want we c n print some more o f these plates . There are a number here that the students have done with a great deal on e or o f of care , and it might be well to try two them . The method I have Shown you is a method that all artists employ both for biting and printing . I t is really a very simple process , and in fact nearly I all arts or crafts are simple . The only thing S to take advantage o f these simple methods and to ou A try to do your work just as well as y can . nd ou to do I can tell y , in order it well , it will take a whole lifetime o f practice . to ou If you want wait I can Show y some more . on e or two But the time is up , and I will try only , and if any of you care to stay to see how the print ing is done and what these plates look like we will o f go on with them . Some them may produce much SO better results than we have had far, because these were really done with some care , and we must try to print everything with the greatest care . That is really all there is to the technique o f

- Bu t ou etching and of copper plate printing . y want to exercise the greatest o f care and not do it in this haphazard sort of fashion , though an etched plate apparently will stand a great deal of strenuous treatment . on e This is a far better plate , and that has been r As done with a great deal Of thought fo line . I did ETCHING 2 1 1 not make this— I never s aw the plate before— I would n o t be surprised if I could not get anything ou t o f it . I t is not inked enough ; there is not off enough ink in the lines , but still it comes pretty well , and is a rather charming design . I t was done here in the school . There i s another thing about printing : The ink does not really get into the lines until after three or four proofs have been pulled , and the ﬁrst proofs on T that e gets are rarely the best . hen after three or four have been printed you get some o f the o f ou I best all , and then y have, n most cases , the o f horrible disappointment seeing the design go , and it ﬁnally fades away until there i s nothing left of it .

Some plates will give only a few proofs , and others will give quite a number . Any number of prints can be made by steel - facing the plate f o S . putting a coat teel on i t, really electropl ating it l In the o d days on e used a machine like this . You took this pad and pounded i t in the ink v i o l en tl o f y, and then you pounded the surface the plate with i t . The ink went into the lines all ou t o f right , but the lines went the copper , and the

consequence was that it was possible, except in the o f rarest cases , to get only a few proofs of dry points

which were worth anything . But with this new roller you can get a large

number of proofs equally good . The collector is v o ery much disappointed with that , because fr m ’ the collector s point o f Vi ew rarity is the great merit

of . Is on e all etching If there only proof, and the on e c ol artist did not like that , that is the that the For lector tries to get hold of. instance , there is a celebrated on e— I think it is of a rabbit o r a pig 2 1 2 THE GRAPHIC ARTS o f that Rembrandt sketched on a corner a plate, or which he did not like , and there are only two o f t o three proofs it known exist , but the whole world o f collectors is running around hunting for those proofs . The fact that later he drew all over I the plate , and satisﬁed himself when he bit t , proves it from the collector ’s point of View to be utterly ff worthless . Artists di er from collectors in those o f things , and they both have their point View . But what I cannot understand is this : Why a collector who wants something which is rare , does not buy original drawings , which are unique . But that i s the sort o f thing that collectors do not want ; instead , they buy rare proofs , and they will o f not buy originals . Often the last state a plate i s far better than the ﬁrst , though the artist may

— spoil it by overworking but usually the ﬁrst state , or though incomplete unsatisfactory to the artist , is the on e the collector collects for its rarity. I can tell you about a very celebrated plate that Whistler did . He told me that he was Sitting o f on a wharf, when some gentlemen , who were the laboring profession , and who were building a wall behind him , dropped a brick . I t did not hit him , but he jumped some feet away , to avoid being hit , as l and he jumped , he scratched the copper p ate

“ he was drawing o n from to p to bottom . I can assure you that print with the scratch on it is one of the Whistler prizes most cherished by collectors .

The print that has n o t a scratch on . i t i s o f very little account to anyone except artists . I cannot go into mezzotints — the beautiful ma ni er e noi re , in which the plate , as I have said , is covered with a multitude of little points made by rocking a cradlelike instrument armed with

O BRAC U E MOND E 1 7 8 P. R A N : PAGE J Q , THE TCHER ETCHING 2 1 5 sharp teeth over the plate in every direction . The

holes made in the plate hold the ink , and it will print o n quite solid black . And the design is drawn the plate with scrapers and burnishers scraping and

burnishing the points away, making the drawing by polishing and scraping the design o n the face o f the plate, drawing the design from dark to light with

scrapers .

Nor can I take up steel engraving . This like

wood engraving is scarcely practiced today . The steel engraver works very much in the same To fashion as the wood engraver . do good work is as difﬁ cult by on e method a s the other and that i s one reason why so little o f it is done . Steel is r t oo little used for etching o dry point . I t is hard and unsympathetic ; but when large editions h as from copper plates are wanted , each plate a coating, a facing of steel deposited on it by electro

o f . plating, and any number prints can be pulled too There is another charm about etching, , and

that is the collecting of o ld paper . You cannot imagin e anything more delightful than the chase up and down in old rag shops which used to exist before old fo r the war, and in book shops , hunting old i ol paper . A paper which s d does take ink very are much better than modern paper . Possibly we

making equally good paper today, but a paper o f that has the beautiful tone time on it , and the beautiful watermarks that some o f those old makers i s put in it , something which , when you can ﬁnd i t ,

you want to treasure . I have found paper in all the old I talian towns

o f . and many the French towns , and also in Holland

The French , I talian , and Dutch papers were per fec tl y beautiful and wonderfully made, and they are 2 1 6 THE GRAPHIC ARTS delightful to print on . Often you can draw on do o s ee them , but we etchers not like t them wasted for that purpose , so we preserve all the paper that I we can ﬁnd . But I am afraid that n the war there has been a great deal of good paper destroyed . o f For example , some of the modern mills north o f Venice are now ruined , and any amoun t paper ,

of — fo r and not only paper , but works art the making o f good paper was a work of art— are gone with the towns and the people and can never be replaced .

Here is another proof I have made . There is no t enough ink on that . I t would probably come up , but it has not enough ink yet . The plate would have to be inked three or four times , printed three o r four times , before I could get the proper strength and color out of it . And the getting of the ink o f ff right , the making the di erent strengths of ink , is an art in itself, and it requires the most endless o u r1n t practice, and practice every time y try to p , because printing ink changes j ust as much as nitric acid . And every change in the weather has an ff . o n e ect But it i s a most fascinating art . And e of the great reasons why it is s o fascinating is the uncertainty, and if you are not fascinated with that o f r sort thing you will neve be an etcher . on We could go , but I think the time is far past , u and I do not think I will keep yo any longer .

Besides I have made and printed an etching . Now go and work yourselves — for if I have not interested

s o . you enough to do , we have wasted the afternoon

2 1 8 THE GRAPHIC ARTS o f regarding , lithography save the application the steam press and photography to it . The art was invented between the years 1 796 and 1 8 G 79 , by a erman musician and playwright , was Alois Senefelder . Senefelder not in a very t o ﬂourishing condition at that time, and he tried ﬁnd some way of engraving or reproducing and printing hi s plays and his music . He searched for a ff long time vaguely, because he was su ering from exactly the same thing that you are— there were G no technical schools at that time in ermany, and he had to invent everything for himself— though I scarcely believe that many o f you would take the trouble to do that . Senefelder invented what he thought was lithography, stone printing, in the 1 6 year 79 , but it was not lithography at all , only o f as was the art engraving on stone, just Blake engraving on metal in England about the same time .

Senefelder had no idea that he was an artist , though he later attempted to become on e . His

" desire was to print his music from stone plates , which he thought would be cheaper than copper . He made his drawings and wrote his music with a greasy ink which he invented, writing the notes backward on the stone . And when they were written he poured nitric acid on the face o f the stone, just as Blake did, and the ink, which was

- an acid resisting varnish , like etching ground, pro tec ted o f the parts the stone drawn on , and bit and reduced the undrawn - on parts and left the of notes the music standing in relief.

He had not discovered anything, for if he had taken the trouble to go into the nearest churchyard in Munich he would have found this form of e n graving on tombstones dating from the time o f LITHOGRAPHY 2 1 9 so Durer . He did not take up art ; far as is known , this is the only drawing that he ever made— a study of a house aﬁr e— and beyond its historic importance I do not think it amounts to much w a o except to prove he s not much f an artist .

I t w as done in the same way as his mu sic . He ou t on found that he was not the right track , and o f after thousands experiments , as he says in his

The Gra mmar o L i tho ra h — for book , f g p y everything that he did is described in that book— he found

another method . In trying to get his music and his plays on the stone it occurred to Senefelder on o ne occasion — or

o f — as he says , after thousands experiments that if he made his drawing or writing with the greasy

ink with which he drew on paper, and then trans

ferred that drawing from the paper to the stone, and then if it came o ff from the paper to the stone why on could he not transfer it back again to the paper,

and so get a print . He tried and succeeded and

lithography was invented . Strixn er He interested his artist friend , , who made this drawing with pen and ink— the greasy ink made o f tallow and grease dissolved in water— on a o f piece paper, and he took that paper and laid it face down o n the stone and ran it through a copper o f o n e o f plate press , a very primitive sort , like those o n I showed you the screen the other day, and the off o f on to A drawing came the paper the stone . nd it then occurred to him that if he were to dampen the o n stone, put some more ink the face of it , lay a piece o f paper over it , and run it again through the press , off the drawing might come again on to the paper . o f He tried and it did , and that is the whole o f r lithography . The surface the stone o plate is 2 20 TH E GRAPHIC ARTS neither raised nor lowered , the lines are neither in n o r i s intaglio relief, the print made from the ﬂat surface . or As I told you , a wood engraving a wood cut is made by putting ink o n lines which proj ect above

o f . the rest the lowered block Etching, as I also ou t ou i s pointed to y , made by cutting or biting I lines into a plate which print when inked . But n 18 lithography there no engraving or etching . The lines are fl at o n the surface and the drawing prints because grease attracts grease and repels water . I t is a chemical action and his name for it was chemi cal printing . The drawing which the artist makes o n paper o r o n stone or on a m e tal plate is not bitten into relief or cut into the plate . I t is a multiplica o f tion the original drawing which the artist made, i not a reproduction . And this s the whole o f li thogr a phy ; and the diff erence between it and all the other graphic arts . I t is not an engraving, not a repro

_ a o f duction of work of art , but a multiplication it . I t is the simplest and the most artistic method that r has ever been invented o ever practiced . Soon after Senefelder showed to Stri xner and other contemporary German artists the merit of the method , it was taken up , and the ﬁrst thing that o f Ga ller i es was done was the publication , as they were called— portfolios o f copies o f the pictures in the German galleries . ’ This pen drawing is a reproduction o f Du rer s l Mi ssa l of Ma xi mi i a n . That was the ﬁrst book a that was produced by lithography . There re many pages of reproductions o f the decoration s Dii r r o f e . the missal , a portrai t of , and other matter German artists in the early days o f the l ast century did some extraordinary work , but Senefelder,

2 22 TH E GRAPHIC ARTS The art in the beginning was no t called lithog ” “

ou s ee . raphy , but as y there , stone printing f r That was not even the original English name o it . I t was called the very Simple and compact o ne of “ ” no t on polyautography, which did catch very “ — well , but it describes the art perfectly many auto ” i s o f writings . I t the multiplication drawings and writings , and not the reproduction of them , as are all the other graphic arts .

Senefelder, however, after obtaining his patent fﬁ and recognition , though he had many di culties to and adventures in London , soon went back

Germany . This slide Shows a very curious plate by Samuel 2 2 Prout (Page 4) , published in the English translation 1 o f The Gra mmar of Li thography in 1 8 8 . I t is curious because it shows the earliest method ; it proves that at the beginning the drawing was not made o n o n t o the stone but made paper, and transferred hi the stone . And Senefelder himself says in s book that for artists this is the most valuable discovery in lithography, because the artist will be able to go out of doors to make his drawings on to paper, have them transferred stone and printed as he could in no other way . This pen drawing by

Prout was done in that fashion . Almost immediately artists of eminence began

to was Ge u . take up the art , and one of the ﬁrst rica lt He was living in London about the time that Sene was felder was there , and made this drawing, which o ne o f a series of prints o f the favorite form o f o f o f British recreation that day . That form to recreation has been transferred this country, and among the greatest heroes is a gentleman who recently arrived in this country from France and is P HANFSTAENGL : O OF D . F. P RTRAIT SENEFEL ER LITHOGRA H M P MP PEN D R PAGE 2 22 SA UEL PR OUT : THE U . RAWING T ANS R D O P P TO ON P N E D D ’ FER E FR M A ER ST E , RI T IN SENEFEL ER S R MM O P G A AR OF LITH OGRAPHY . LITH GRA H

O P O : . PAGE 22 7 F. G YA THE BULL FIGHT LITH GRA H

N TOU R : O N S PAGE 2 2 8 A . AFFET ILS GR G AIENT MAI ILS SUIVAIE T O P JOURS . LITH GRA H LITHOGRAPHY 22 7 o r creating more interest than Maeterlinck Lodge . n o t However, we will consider that matter of public taste so much as the extraordinary way in which G ericault did this drawing . The upper part of this

ﬁgure is done in pen and ink , the legs and the body

in chalk , and the reverse is the case in the other

ﬁgure . This proves how quickly artists recognized wa the possibilities of the art . The drawing s done in 1 1 8 0 5 or 8 0 6 . But all artists who s aw the new form of art began

to practice it , and the portfolios and albums and galleries which came ou t Shortly afterward contain n some of the most perfect lithographs , although eve o f at that early date some the artists , especially G to the ermans , began get that lithographic quality so in their drawings which we all hate and loathe, and which you s ee in the commercial lithographs about

o u — o f y the perfection technique , the destruction

of art .

Lithography spread very rapidly over Europe , G and got as far as Spain , and oya , whose work I

showed you last week in aquatint , made a number

o f . lithographs , ﬁnding it a most congenial method “ This lithograph (Page o n e o f a series o f Bu ll

Fights , is deservedly famous . I t was brought very to w as early this country, but very little artistically

done here . o r Then the art went back to France , where two

three men began to practice it with great success . o f C One them was harlet , and this drawing (Page 2 2 9) is curious , because it shows another method by i which a lithograph can be made . I t s evident that o f the stone was entirely covered with a ﬁlm ink , and , if it had been printed before any drawing was put

o n . it , it would have been perfectly black all over 2 28 THE GRAPHIC ARTS Charlet then either took a scraper or a knife and scraped the design in white line ou t o f the black surface as the mezzotinter does . There is no limit to the methods which can be The employed . number and variety of them are o only now just beginning t be known . Another artist who at the same time began to ff C . A practice it was Ra et nd these two , harlet and Raff et invented between them what is known now ” as the Napoleonic Legend . Their stunning draw ings of Napoleon and the Napoleonic Wars were sold then as propaganda throughout France , and

o f o t . some them g to England, and over here I know o f nothing ﬁner in early lithographs ’ than this design of R affe t s of the Nocturnal ” Review . “ an o ther Th e There is still , Retreat from Moscow, “ ” 1 ls gr ogna i ent ma i s i ls s ui va i ent touj our s (Page which i s equally ﬁne . And all o f these designs were published in very popular form and sold for a few sous apiece , and were widely circulated all over Europe .

They were about a foot in length , and were issued o a dozen or s in a portfolio . But the art was used for other purposes than popular propaganda . An Englishman named B aron 1 8 2 or Taylor early in the last century, about 5 1 8 0 3 , went to France and began to publish an o t illustrated description of, the country, and he g the most eminent artists o f France and England to for work him . He obtained government support i t I and began to issue his P c ur es que Fr a nce . One o f these artists was Richard Bonington , and Boning to n on e o f o f made , in the volumes this great work ,

1 ’ V o a e i ttor es ues er r oma ntr ues dc l a nci er me r nce y g s p g g F a .

- LITH O o R B O N O : R U E DU O OR O . PAGE 2 3 1 . NI GT N GR S H L GE GRAPH LITHOGRAPHY 23 1 “ this ﬁne drawing o f the Gros - Horloge in the street o n e o f 2 0 at Rouen , the masterpieces of the art (Page 3 )

Bonington experimented for himself, and in a very short time he made a series o f drawings in

chalk and in wash , which have never been surpassed n o f to this day . He was o e of the greatest the

o f . lithographers , and one the earliest As in the other forms of the graphic arts new artists appe ar ed

with new methods . Another man who worked at the same time as Bonington o n these volumes was Isabey who treated mainly the seaports o f France in the most realistic

fashion . Not only that , he made a series of designs in o f a portfolio o f marine subj ects . None the mezzo tints I showed you the other day rivals this in draw o r i n ing, in color , handling (Page I t is only S1x a small chalk drawing, some or eight inches long , I but t enlarges wonderfully , and gives you an amaz ff o f o f o f s e a ing e ect form , the movement the , and o f water sk the color and y done in the simplest way , o f o n just with a piece chalk , the whole design drawn o r paper stone . Probably this drawing was made o n stone , because these artists made their Sketches o u t o f doors , brought them back to their studios , and

worked them up on the stone , this being the easiest

way , as the paper which Senefelder prepared for

o n . drawing , was not reliable Another great man who also practiced the art very 2 extensively was Daumier . And this design (Page 3 3 )

1n Cha r i va r i — I was published , I think , am not certai n — and 18 o n e o f the episodes of the French Revolution F o f 1 8 8 . o r 4 making that drawing , which was a ’ o f o n o f 8 sort satire the horrors the Revolution of 4 ,

Daumier was promptly put in prison , and when he ' go t there he employed himself not in weeping o r 23 2 THE GRAPHIC ARTS wailing , but in drawing portraits of his fellow o f prisoners . This is about as wonderful a sample portrait design in lithography as I know of, and it proves the fact that an artist who is an artist will ﬁnd his subjects always about him — whether in prison or in heaven or somewhere else ; all he wants is a sheet of paper and a piece o f lithographic chalk to prove it s o . A third man who took up the art at this time r Gav arn i was Gav a n i . is mostly known as a o f draughtsman fashion and of costume and events , and this masque ball is a good example of his work .

But he was not satisﬁed with that alone , and he o f made many portraits many people , among them the De Goncourt brothers . And besides that

o f o f - he also made a series portfolios folk lore , and Pére Vi relo u e popular legends , and this ﬁgure , q

(Page is taken from one o f them . And I would like you to notice the extraordinary way that this on drawing stone was handled, the extraordinary quality and character that Gav arn i gets in all of his ff work , the di erence between the tottering creature , and the ﬁrm ground , the handling and the modeling of the ﬁgure . The technical work is beyond belief in the variety o f the textures that he has got out o f that stone o r plate o n which the drawing was made . Herv i er made this drawing in a diff erent way from any other that I have shown you . It was made entirely in wash — for you can work in any way at o n o r all , paper transferred to stone , on the stone itself. The wash is made from the greasy chalk which the artist uses , dissolved in water as you dissolve india ink or solid water colors and the artist uses the dissolved chalk like water color .

GAV ARNI : PE V IRELO U E . O P PAGE 23 2 A . RE Q LITH GRA H O P D X : T ION OF T T S . IT AGE 2 3 7 E . ELACROI HE L HE A LA L H GRAPH

P O . O PAGE 244 FANTIN o LATOU R : SYM H NY LITH GRAPH ' - T O R P . NO PAGE 244 FANTIN LATOUR : R OSES . LI H G A H ( TE LINES IN D RAWING PAPER ON WHICH THE DESIGN WAS MADE)

23 8 THE GRAPHIC ARTS the artists o f the two countries . The art migrated from England to France and back to England again , j ust as i n the case o f wood engraving . I Ca t termole Here s a drawing by , a wash draw ing which shows the diff erence between English b e and French drawing, when artists tried to them selves and n o t imitate the popular man o f the

ff . moment, as most artless du ers do today Lane was another English artist and portrait painter who practiced the art i n England . In those days he could get all the Sitters he wanted to pose for litho graphed portraits . But today we have advanced so far in art that if we want a portrait made— we go

to . a photographer Then , too , lithography occupied in the salons and drawing- rooms the same place and the same importance as bridge . People then cared for art instead o f talking about i t— or hearing it talked about .

But it was treated in many ways . For example, it was used by men who o n e would not suppose wa were caricaturists . I t s used by Sandys,whose u wood engravings I showed yo in the ﬁrst lecture . on e o f Sandys made this extraordinary pen drawing , o n the ﬁnest that has been done zinc , and it was published as a caricature and produced somewhat o f ou a sensation . I t may surprise y to know that he was so absolutely reckless that he made a draw ing on this plate ; and that i t was supposed to represent John Ruskin as the ass , and on his back are Millais , Rossetti , and Holman Hunt , the pre

Raphaelite brotherhood , while Titian and Tintoretti bi you can see in the distance singing ora pr o no s . The ’ “ whole design was a burlesque on Millais Sir Isum ” A bras at the Ford . nd Ruskin , the prophet , and on e o t Hunt , the serious , g into such a fury that they O V ON M N : D . M PAGE 243 A . E ZEL THE GAR EN FR SKETCHES O P ON STONE WITH CHALK AND SCRAPER . LITH GRA H O PAGE 24 5 EDOUAR D MANET : PORTR AIT DE FEMME . LITH GRAPH

T O P R OPS : D N M . PAGE 24 5 F. REA I G THE ISSAL LI H GRA H LITHOGRAPHY 243 o f endeavored to prosecute the maker it for libel , but as he was careful not to sign his name they did not o u t te c hn i ﬁnd for some years who did it . But was cally it a very remarkable drawing , and it o f lives because its excellence , in drawing and

printing . o f Lithography, as I said , fell into the hands the commercial lithographer and fo r years few artists B G r practiced it . ut the man who revived it in e o f many was Adolph v on Menzel . As I told you the so draughtsmen on wood , all these artists were keen fo r the technique Of any art that they practiced every o f i n form art which appeared , and Menzel did more Germany to make I t i nto an original form of art than

any who had gone before him . Those drawings fo r his volume on The Un ifor ms of Fr eder i ck the ’ Great s Ar m o n y were all in pen and ink , and done

the stone . But he carried lithography farther than anyone had ; in this Christ In the Temple he produced a masterpiece . I t has been drawn in o n almost every way, drawn stone , with ink and pen , and with wash and chalk all combined . I have shown yo u nothing in which such an amazing lot o f types have been s o truly rendered as this litho

graph by Menzel . I am sorry that scarcely any o f these prints that I have shown you are in the

print room . They ought to be . For you must have good examples to study if you wish to do good work ,

and carry o n good tradition . ’ Here is the perfection of Menzel s work (Page 23 on e o f a series o f designs he made for a portfolio

called Sketches wi th Chalk on Stone . I t has all the ou s ee o f characteristics , y can , a mezzotint , and yet s o it is a lithograph . In fact some of these designs closely resemble mezzotints and aquatints that even 244 THE GRAPHIC ARTS ’ ’ this morning I was shown in O Bri en s place some of these early lithographs which I could not tell off myself, as the plate marks were cut , whether ’ O Bri n . e they were really lithographs , as Mr main t ai n ed or . , whether they were aquatints At ﬁrst

I thought they were aquatints , but they may possibly t be lithographs , though probably the ar ist , knowing o f about aquatint , used some form it , in some way, on stone . Here is another example o f modern German

‘ work by Otto Fischer . You s e e again the artist o f has not lost a single bit character, the character o f his hi s o f handling, or technique, or method n o t expression . You are cramped in the slightest ) in your drawing when you make a lithograph . G Here is one by Otto reiner, done entirely in x pen and ink , a remarkable e ample of brilliant o f drawing, freely done, in which the character his work is perfectly preserved . Another man who took up the art a li t tle later than

Menzel was Fantin - Latour (Pages 23 5 and he practiced it for years , and revived the art in France . You all know his paintings o f roses and his subject pictures , and his lithographs are equally well known .

Nothing could be more beautiful than those roses . l He loved drawing, and practiced ithography because he loved it , because it gave him line and color . o n o f He kept for years , until the close his life , e o r ither working at ﬂowers symphonies , which he

o il . rendered in lithography, as well as in

There is another thing about his lithographs . ou o ne I do not know whether y can tell it from this , but in many of them you can see that these drawings o n You were made paper, Michelet charcoal paper . s ee the lines of the paper and the watermark which

246 THE GRAPHIC ARTS looks like i t - with a little bit o f chalk work put in maybe . i s Here another wash drawing, and a very remark i able o n e by Lu n o s . These drawings were printed in color ; color can be added to lithographs ; Sene to as felder showed how do that , the same way the

Japanese made their color blocks , only far more

r . di ectly, as there were no wood blocks to cut But there is another thing about lithography in distinction from etching and engraving . When you make an etching you have no idea what you are going to get until the plate is printed , and then you frequently get a shock . In lithography you can see everything you do the whole while you are doing it . Your drawing grows under your ﬁngers just exactly as any other drawing, and you know it will ou print just as y drew it , and that is the reason why lithography fell into the hands o f the commercial lithographer who wrapped it up in mystery because so so the technique was so simple, direct , easy that even he could practice it . Those o f you who remember that wonderful study upstairs will s ee that Carriere preserved his methods hi in this print just as much as he has in s paintings . ’ o n e An u e ti n s Here is of q designs , very free and bold, and yet done with all the character that he hi i would get with s pen drawing . It s an early

French poster . This head is after Henri Martin (Page I imagine that the greater part o f that ou t was scratched like a mezzotint . Here is a reproduction o f that great Rembrandt was which in the Hermitage at St . Petersburg . What has become o f i t n ow ? We can only hope that it exists . But at any rate, we have still wonderful o reproductions of it , in this w nderful art . O P BY P PAGE 246 HEN RI MARTIN : THE VISION . LITH GRA H AUL MAUROU R E : ON I O R P PAGE 25 1 A . FAV LES AURA LITH G A H

P O : E . O PAGE 2 5 1 J . L . F RAIN THE L TTER LITH GRA H LITHOGRAPHY 2 5 1 Stei nlen also took up the art (Page and in ’ his pages for Gil Bla s I llustr e and other magazines

he made a series of drawings well worth study . You

must study the work of all these brilliant technicians .

Lithography was used as war propaganda, o f in the last war as well as in the time Napoleon .

You have seen the French posters as well as ou r own . Stei nlen Forain and were trained lithographers , and when war came on they made u s e o f the art u for the beneﬁt o f their country . Yo will s ee this ’ or ai n s w all through F war ork , and the books that he o f Fi a illustrated before the war and in the pages g r o. ’ This is on e o f For ai n s designs (Page 2 5 0 ) done o during the war . Almost all f his drawings that you see in Figar o are done with lithographic chalk or pen ou and ink . They are made, as I told y , into photo

engravings . Abel Favre made the most celebrated “ poster (Page 248 ) that was done during the war— On ” l e " s aura its meaning was plain to all who could s ee . on e , There is thing I want to tell you about these i s posters , and that that the French artists who made them knew exactly what they were doing and what

they wanted to do , because they were technically

trained craftsmen . The design was made by the artist not as a as water color or an oil painting, but a drawing right straight o n paper or on stone in lithographic chalk o n or o n if paper, transferred to stone , the stone

itself. For all those men in England , in France , in

G — I I taly, and also in ermany suppose they must n o t have had posters , although I have seen any of them - knew absolutely how to work for lithographic r1n i n p t g .

Maris lithographed his Dutch landscapes . This hi s o r looks exactly like wash charcoal drawing , but 25 2 TH E GRAPHIC ARTS he has kept all the character of any o f his work in other media . Another man who took up lithography was Bauer a who (Page also Dutchman , is better known by his paintings and etchings . Yet whether that Sphinx o r n o t h as was done in Egypt , he made a remarkable record o f it . I t was also done with remarkable technical knowledge and skill . h as Veth , still another Dutchman , used the i o craft very brilliantly . Here s a portrait f the hi s . reviver of lithography, Menzel , in Old age Menzel did a considerable amount of work which I ou have not shown y , but it is all well worth study ing, and reproductions of much of it are in the

Ryerson Library . The third man who took up lithography and practiced it more than Menzel or Fantin - Latour o f was Whistler, and this is one his earliest designs .

It was drawn on stone , because at that time the Wa was printer y very anxious to get Whistler. to for work him , and he was good enough to supply

Whistler not only with stones , but with wheelbarrows and with men to wheel them about , because a stone as even a foot long, this is , and three inches thick , weighs a lot , and the artist cannot very easily lug u it around . Whistler found this o t in his ﬁrst experiments after he had made two o r three draw o n o n e ings stone ; this is done with pen , with brush , and with wash .

From the very beginning he began to experiment , and experimented in many ways that n o one had tried before him . He found right away that if he wanted to draw out of doors , as he always did, from hi s nature, and did not have his men and wheel i t so to barrows around , was impossible , he began

25 4 THE GRAPHIC ARTS

Whistler experimented in all sorts of ways , and A o f . s with all sorts subj ects he used to say , he was no landscape painter or portrait painter or ﬁgure

was . painter, but he an artist He said the man or or who cannot draw paint everything , cannot draw ” o f paint anything, and he proved the truth his proposition by this study of a shoeing forge, drawn as well as any man could who devotes himself to on the study o f horses . That was done paper the greater number o f his lithographs are on paper .

Many of his drawings were made in Paris , and when ﬁnished the sheet of paper was sent over to London to his printer, Way, and there put down on the stone . But you must know at this time the secrecy in the art of lithography was so great that Whistler, o f during the whole his lifetime , had no idea how drawings were put on to the stone, or how they were

or . etched , printed The etching is nothing but washing the stone with acid to keep the lines from spreading . But the drawing made on paper was sent over t o

London , and then transferred to the stone, and o n when it was put the stone , sometimes half the work was lost , and Whistler had to go to London , d on get the stone , and raw it again the work which to ff the printer had lost , in order get the e ect that he had in the beginning on paper . Had he been allowed to go into the printing ofﬁ ce and see the drawing transferred , etched , and printed, we should have had more lithographs and even better lithographs than we have today from him . These hindrances drove him and many other artists from lithography . Finally some o f us broke open the door o f the lithograph Shops and we found that the secret LITHOGRAPHY 2 5 5 of lithography consisted mostly of stale beer and lemon juice, conservatism , and stupidity . I t was with such secrets that the craft was surrounded . And it is in ways of this sort that most of the secrets o f the arts are hidden . There are several architectural subj ects by o f Whistler, astounding studies architecture done by him a little before he died . Look at the wonder ’ ”

C o f . old ful way the hurch St Anne s , that G eorgian church in Soho , is drawn and the feeling

o f . a dreary, dark day given I remember the after noon he came into my place and said he had seen a the subj ect , and in bout two hours he was back with

o f . o u t the drawing on a piece paper He had gone , done the whole thing , and that same afternoon we ’ went over to the printer s and it was put on a stone ou o n and printed . As I shall show y Thursday, a lithograph can be made more rapidly than an etching . o f Here is a portrait he made me, in a very short o f time , the result of a lifetime practice (Page As I sat in a chair In front of the fire In my place s a t o n in London , and he the floor with his back to s ee so the fire and worked until he could scarcely , o f great was the darkness , yet he kept the feeling fir eligh t in the coming twilight in a most remarkable fashion . He kept on working till he could scarcely s e e i s do so , for he used to say there so much to , and little time to do it . Is o n e o f if n o t o f This the last , the last , the plates he did . I t was done under most trying circum

— was — i n stances when his wife ill the Savoy Hotel , looking out of the window across the Thames ; it is the most perfect o f the wash drawings he did . on I t was all done in wash , exactly as a water color, 25 6 THE GRAPHIC ARTS n o t the stone , transferred to it , and it was scraped and burnished and then redrawn over and over again until he go t the effect he wanted . But it was not done easily or quickly or simply . There is on very much work the stone , for the ﬁrst proofs were very poor indeed , black and smeared , though he o n never was daunted by that , but kept with his work until he got the result that he wanted ; and ou t o f this plate he made one of his ﬁnest lithographs .

Sargent has made a few lithographs . This was done o n paper . And I have often wondered n o t why he has done more, because in the ﬁrst des 1 n and almost the only g he ever made , he made a c an no t ' hel great success . And I p wondering , as

I said a little while ago , why people who want their portraits drawn do not get an artist to do it in i . ou s lithography As I have shown y , it a most Of beautiful form art , and here is a proof that any on e as who can draw, Sargent can , can make a

ﬁne lithograph on his ﬁrs t attempt . F . Walter

Taylor is beginning to do portraits , and I hope he may go on . o f Beardsley, too , is another example a man who o f worked in all sorts media , and these posters by him are as ﬁne as anything that he did (Page

Here is another, done in blue and white , nothing o else . And the theater poster was the success f a

London season , more of a success than the play was . Another man who took it up in England is

William Rothenstein . And here are portraits o f two English artists (Page both o f whom have done important work in lithography . I am sorry I have no t slides by them . They work together, but their work is along different lines ; Shannon does romantic compositions , and Ricketts has taken , to a great

E R O N : PO OF PAGE 25 6 W . R THE STEIN RTRAIT CHARL S ICKETTS P NNON . T O AND C . H . SHA LI H GRA H O P BRAN GWYN : PO . PAGE 26 1 F . RTERS LITH GRA H P R D O P PAGE 2 6 1 MUIRHE AD BONE : THE SHI YA . LITH GRA H

26 2 THE GRAPHIC ARTS a single lithograph . He took up the art and made a success of it , and did a great service to his country .

But at the same time he , and I believe all the ’ other men , went to the printer s and saw that the drawing was properly put on the stone and properly printed . And that is what scarcely anyone takes the trouble to do in this country . Most of you

o f - students are afraid soiling your lily white hands . During the war we arti sts who were connected o f with the Bureau Public Information , the Pictorial

Division , had about five hundred painters and u s o u t illustrators working for , and do you know, o f that five hundred there were no t five Americans who knew how to make a lithograph at all , or even how to make a drawing which did not have to be copied, redrawn , or photographed . This technical ignorance was an enormous loss o f time in govern o f ment propaganda , and an enormous waste gov er n men t money, because all the work that these untrained patriots did had to be done over . You C had a most excellent Division here in hicago , but how scarcely a man knew to make his drawings . i s This design (Page also a war drawing, by

. as re Spencer Pryse I t was made on a zinc plate , I s aw member, and he proved it and printed it and to the ou whole thing . And unless y students care enough for about your art to do that , to care your drawings and print them , when you get a lithograph press , the o f i sooner you get out art nto something else , the better I t will be fo r yourselves ; art can get on very well without you . Another English war artist was Nevinson (Page

These drawings , as I understand , were not Im done at the front , because no artist did anything to mediately at the front , for there was nothing there T O P PAGE 26 2 SP ENCER P RYSE : BELGIUM . LI H GRA H O P N N ON : O D . PAGE 26 2 C . W . EVI S THE R A LITH GRA H

. O P P 1 . B : PO AGE 2 7 C . FALLS STER LITH GRA H LITHOGRAPHY 26 7 to do , nothing do but to keep your head under cover . s aw When you got to the front , as I it , there was nothing to s ee and if you Stuck your head up you might lose it . But most o f these British drawings were done some ﬁve or ten miles behind the lines . There was another thing about this British propaganda work . Do you know that the British and the French governments did more for their artists over here than we did for ours ? The best o f the work that was done was sent over here to show what Great Britain w as doing . The United States government did n o t have enough knowledge o f ho w to exploit itself to send the work that we did even o f o f around this country . None it but some my own ever got t o Europe during the war ; it has not go t over there yet . And that is altogether due to the fact that we have no art head , no art n o o f direction , Secretary Art , no Art Department in the United States . And I hope that before we go into another war, before we do anything more , we will h ave an Art Department in this country .

We must have it . We are bound to have it . Or we have got to give up talking about art , because w o f we are rapidly becoming , o ing to the want o f government protection of art , one the most artless countries o n the face o f the earth . The government thinks art a luxury— i t is a ﬁnancial asset . I Only today, I believe , there s a committee or a i n C commission hicago begging for funds to start , i n in the American Academy Rome , a department

' n o t s ec t ac le for of music . Is it a pretty p the U s o nited States , when the American Academy, o f A called , Fine Arts in Rome , and of rcheology and Classical Studies has to send private people out to 26 8 THE GRAPHIC ARTS beg for money, that we ought to be able to demand from the state " Th e state should furnish that money, and should support that Academy . We have a very fine Academy in Rome , just as the French have an Academy and as the Spaniards and the English have . But the Spanish public and the French public are n o t asked to support their ac ade mies . The governments pay for them , because they know that art is a financial asset , as important as ’ big business and a great deal more so . We don t know enough to know how little we do know . i s ou r Another thing that , although in Academy o f we are now to have all the branches the fine arts , i s on e there that we are not to have , the most impor on e tant of all , the in which this country has made the greatest name , and that is the practice and teaching of the graphic arts . Every other country has in its academy a school of graphic arts . We have not . And yet it is in the graphic arts that the

United States has done its best work , as I think you will admit after seeing a good many o f these slides . Until we get a school of graphic arts we are simply ou t o f competition with other countries .

And there is another matter . The pupils for the French Academy in Rome are obtained in this way : In France there are government art schools A in all the big provincial towns . nd from those art schools the best pupils are sent to Paris t o study in the Ecole des Beaux Arts . And they have all I n their heads the hope that they may wi n the Prix de

Rome ; when they have got that, they pass four delightful years i n Rome putting what they have learned into practice . We have no such schools .

~ If a man does win the American prize , a student A ship in the American cademy, he wins it simply

P 2 7 1 O B OW : M D R OF E D AGE GE RGE ELL S THE UR E ITH CAVELL . LITHOGRAPH LITHOGRAPHY 2 7 1 without any tradition , without any deﬁnite system of teaching, only because he can pass a certain

exam In a ti on . And the best craftsman , the most or useful artist art student , has but little chance to win . I t is the duty o f this country to organize national schools in every great city in the land . We should have in Washington a great national art university, and from that national art university the best students Should be sent by the government to Rome o r o f Paris or the most inspiring centers art work , and then we will get some national art , and we ’ won t get it in any other way .

One man , however , who did work intelligently C for the government was this artist , harles Falls , C and another was Adolph Treidler , both hicago men whom you never had the sense to appreciate , ’ as I told you when I showed you one o f F alls s drawings last week . This was the most popular

American poster (Page I believe , that was made or o n e during the war, of them , and one of the most

— ff a t . artistic ones any rate , one of the most e ective And it was made by a man who knew ho w to make posters , and who trained himself to make them i s trained himself by working in a shop , and that the so ff reason why the poster was good , so e ective, and had such a very satisfactory result when books were wanted . Here i s the work o f another man who also has given much time to practical lithography, setting up

— a press for himself Mr . Bellows (Page who was here during the wi n ter . He has carried out that study “ ” o f the Murder of Edith Cavell in a remarkable as fashion , though he did not see it I rather prefer this second slide, in which he has drawn something 2 7 2 THE GRAPHIC ARTS that he has seen ; I think this is a ﬁner rendering o f something that he has seen , than the other, which he two has imagined . These , however, are very inter

li tho ra h s don e . esting g p , by a very amusing man And a propos of this I show you this print for another reason . I t is a drawing I made in Venice in 1 91 2 — this i s only the key block of i t— which the

Venetian government used as a poster . But what I wanted to tell you about it was that the drawing was made from nature in Venice, taken to London and put on stone without anybody working on it except myself, and then transferred again ; that is, a copy of it was printed with very greasy ink , and then it was packed up and sent to Italy and printed no there . No other artist , engraver, no photog r a h er i t— p , had anything to do with the drawing as I made it printed . on e Here is another . This was of the ﬁrst drawings that was made on paper and transferred to stone in modern times and the original kept .

I t is transferred extremely well technically, and I want to Show you next week exactly how that is done . That was transferred and printed by Charles G o f oulding, the brother the etching printer in

London . This is the shop in which I work (Page It is who not s o bad . And I work with that printer stands beside me . You can s ee the type he is and

. A the nationality he is nd every workman , almost , G in that shop is a erman , and they have been there for years ; they were there all through the war, o f o f or though most them , I suppose all them ,

o f A . nearly all them , are merican citizens But there or Was e is not in that shop , there not befor the

- o r war, scarce an American born lithographic prover

LITHOGRAPH PRESS THE GRAPHIC ARTS LITHOGRAPHY TH E ME THODS SIX TH LE CTU R E THU RS DAY APR IL 2 2 1 92 0 GG S : R . E ER I wanted particularly to say

a word in connection with this program , because a proposition — I might almost have said at on e time a dream— which we have had in mind at the Art Institute seems to be approaching realiza

. o f tion Mr . Pennell is only one those who have

urged doing things which are practical , doing things which are more and more practical at the Institute

than the things which we have been doing, and among these more practical realizations o f the art

ideal is the development o f a class in lithography .

Through the generous c o - operation o f the National A o f ssociation Employing Lithographers , the Art

Institute is going to be able within a very few days , for th o f I trust , to announce a class e training workers

in lithography .

There will be two phases to that work . There i s one which is distinctly an economic phase . The i country needs lithographers . I t s willing to give 2 7 6 THE GRAPHIC ARTS to them occupation . I t is willing pay them well .

In other words , the technical lithographer is a man o f o who earns a good living and is sure a j b . The other phase is that in lithography we have a means o f conveying to a large public the direct touch o f the artist in a work of art as we do not o f convey it by any other form reproduction , with

o f o f — the exception , course , etching and wood block pr1 n t1n g .

. The lithograph is in a certain sense an autograph , i s I t a comparatively young art , but already illustri ’ ’ ou s . own names like Whistler s , Mr Pennell s , the o f name of Bellows , Sterner, men that type , have o f been enrolled as great masters that art , and they have given that art a great impetus . I t Is a great pleasure to introduce this afternoon ’s program in which we shall have a practical demon r i s t a t on of various practices of lithography . NN : MR . PE ELL I think this announcement i for . s by Mr Eggers most important , it does Show u on what some of s have been trying to insist , that what i s wanted in this country are practical technical ou schools , and if you make a start , as y are going ou to make here by a School of Lithography, y will for have done a great deal for the country, the

Institute and for the students , and the last should

. r ac be ﬁrst My belief is this , and I know it is a p n o t tical belief, and I have said that I do believe i s o r there a single budding Rembrandt Michelangelo , or o r Whistler, unseen genius in this audience . I ‘ do not believe any o n e o f you is going to turn ou t to o f be anything the sort . Yet some o f you may . u That will be because yo cannot be stopped . But there is no reason why every student in this school ou Should not learn some craft by which , until y

2 7 8 THE GRAPHIC ARTS

f . starting o f this school o lithography by Mr Eggers .

I am extremely glad that it is to be started . And you are greatly indebted to the Art Institute Of Chicago now which is going to take up practical work, and it will be your privilege to assist by practical study , and then you will ﬁnd that you will get practical i returns from it . I t is not go ng to interfere with I ou to your art work , but t is going to enable y make a livelihood out of your art , and you have to make a

o f ou . ou do living, most y , I hope If y can it in on e o f adv an an artistic fashion , it is the greatest tages that you can have had from your school training .

to . ou Now, to come practical work I told y the other day that when Senefelder invented lithography he had two things in mind : One was the printing o f hi s plays and music in some simpler and cheaper o form than by engraving n copper . The other o f was calling the attention artists to the new craft . on e Mr . Eggers made mistake in his most important announcement today, though he did try to correct himself, when he said that lithography was a form o f or A reproduction like etching wood engraving . s i . s a matter of fact , it is nothing of the sort I t not a reproductive art . I t is the art of multiplication , while all the other graphic arts , as I have been telling ﬁ v e . you for the last lectures , are reproductive arts Lithography is the art of multiplying originals and o f not reproducing them . Drawings from the beginning o f lithography were made by artists on paper or on stone . Senefelder was always trying to get some substitute for the heavy stone , and his ﬁrst attempt, and successful o r attempt , more less , was in making what he called “ ” stone paper . That was a sort o f paper which LITHOGRAPHY 2 7 9 was coated with powdered stone, and this gave a o n grain to the drawing made it . I t was no t a success , though used for a while . A nd the next thing he tried was metal plates .

I am not certain to what extent he succeeded , but , o f as I showed you last time, most the early litho graphs were copies done in the artist ’s studio or in

- ofﬁ c e the printing , and stones were used for two reasons : Because the artist did not have to take ou t o f them doors , and also because when you o n o r on ou make a drawing stone a metal plate , y know what you are doing, and the design so made should print . There is this diff erence between lithography and ou the other graphic arts . When y make an etching, ou as I think I told y last week , but it is worth repeating— you ﬁrst draw o n the zinc or copper

‘ i s n o t ou plate , but that not the etching, the end ; y must bite the drawing and print it . In lithography o n o n the drawing that you make the paper, the

o f s ee— or ou plate zinc , or on stone , you will y

I o ff — ou t Should, if t comes comes as a print exactly

ou . as y drew it It is not reproduced , or changed , it is multiplied . The ﬁrst thing to do In making a lithograph i s to prepare the zinc plate . That is a Simple matter .

But everything about lithography is simple . It has only been made complicated by people who want I to wrap it in mystery, and n un ion i sm , and various o f things that sort , which you artists will ﬁnd are not absolutely necessary to good work . ou But again , as in all other arts , y have to know how to draw . The ﬁrst thing is to prepare the plate by polishing

o r . s ee graining it , and then to draw on it You 28 0 THE GRAPHIC ARTS the drawing which has been made o n it . Then the printer dampens the plate with water in a sponge . I n would n o t have done it that way . I t is o t n e c es

. to sary . But he is doing it in his way He wants o f clean the plate , to get the surplus chalk the drawing off the surface o f the plate . I know it should be left there , as it gives richness to the prints .

After he has ﬁnished washing the drawing , if anything is left o f i t — he has smeared it already he — h as will , I believe everybody his own way wash it with gum arabic and water, and gum arabic is supposed to be one of the most Vital and important and necessary— i t is necessary— adjuncts to lithog h r a . p y The gum arabic protects the design , keeps i t it from spreading, and also in a way etches what I have told you about etching lines into a plate o r etching away the undrawn parts of i t— H - as in

— etching or photo - engraving is no t done in lithog r a h ou p y at all . In this , as y see , there is no etching

o f or . lines into the plate , leaving them in relief The whole Is done o n the surface by chemical afﬁ nity . And the theory and the practice is this : The chalk with which this drawing is made is composed o f grease and coloring matter, and grease attracts grease and repels water . The printer now covers i s the whole plate with ink , which only the chalk dissolved by having some oil mixed with it , in order that he can use it o n the roller . He let the plate dry so the ink sticks to it all over .

He is doing it in his own way, and that is not n o my way, but I have doubt he will succeed quite a as well s I would . He rolls the ink all over the plate

' to strengthen the chalk drawing on it , and he now o ff washes the ink with water . Next he washes it with

2 8 2 THE GRAPHIC ARTS extraordinary things happen or do not happen whenever you attempt to make them happen i n ’ 3 lithography . I want to try Senefelder ﬁrst method ; many artists today use copper - plate presses to prove the plates which they have made .

— Here is the print i t has printed . I t has not enough ink on it , yet the lines are all there, only they ho w are not inked enough . But that shows long it takes to print a drawing after it is made . Again on the printer dampens the plate, rolls more ink it , and more ink sticks to the lines ; he lays another o n sheet of paper the plate , pulls down the tympan , and runs it through the press ; the proof is stronger ; to it is right . He now washes the plate with acid prevent its absorbing more ink , and he can make any number of prints .

Later Senefelder invented the lithograph press , which in a way is very much better . In the copper plate press the pressure was obtained by rolling the ﬂat plate between the two cylinders when the prints came off . ff The lithograph press is made entirely di erently, because the lithographers found very soon that so nothing like much pressure was needed, and they also discovered it was very much easier to scrape the off ink the plate by passing, as the printer will in a moment , the plate or stone placed on this bed under this heavy yoke . The bed is lifted up , and here in the middle is a bar which carries a scraper at the bottom . There is no necessity for the heavy pres

Of - sure the copper plate press . The zinc is now U inked again , paper laid on it , and as it passes nder o ff this heavy yoke the ink is scraped on the paper . I t does not require that enormous pressure which

- You was given to it by the copper plate press . see O . THE BE GGAR STAFF BROTHERS IRVING AS B ECKET. P STER LITHOGRAPH : OO PO . R . A . BELL SCH L STER LIT HOGRAPH

O P PAGE 2 7 2 JO SEPH PE NNELL AT WO RK ON A LITH GRA H LITHOGRAPHY 2 8 7 how he lays the inked sheet o f zinc on the bed of the press , puts the paper on it , pulls down the ou s ee handle , and then the bed , as y , rises up against the scraper, and then he runs the whole bed off under the yoke , and the ink is scraped by the scraper as the plate passes beneath i t . ou s ee Here is the proof, and y how much richer C it has become . ompare it with the ﬁrst proof. I t is only that more ink adheres to the drawing as more ink is rolled on . And if the printer went o n inking it for any length o f time without washing it

— with acid instead of acting as an etching does , and getting weaker, a lithograph acts in exactly the other way ; it gets stronger and stronger— ﬁn ally it would become black all over, but even then it could be washed out with acid . The printing lines get black because the greasy ink sticks to them .

Now, in order to stop that he washes the plate o f with a mixture chrome acid and gum arabic, and that prevents the ink from accumulating on the drawing ; it prevents the lines which were drawn from absorbing more ink . The lithographic printers call this etching . I t is in no sense etching into i s relief o r etching hollows in the plate at all . It only stopping the plate from absorbing more ink . Now he inks it again , after having dampened it, i s rolls more ink on , and this the whole secret of lithography ; this is the way in which the simplest

. A ou s e e lithograph is made nd as y , there are no secrets about it , though there is as Whistler said, “ ” ou the secret in doing it , and I can tell y that if o f ou to any y came up and tried ink that plate , tried to ink it as he is doing with apparently no trouble ou at all , and then pull it , y would make about as bad a mess of it as could be made ; it is not half as 2 8 8 TH E GRAPHIC ARTS easy as it looks . The printer does not even have

— to take the plate off the press h e . inks it o n the bed . There is another proof, just the same as the on now other, and it would go printing that he has o f washed it with acid , and give a large number proofs without getti ng stronger . I do no t know o n how many . That depends on the design the plate . I imagine this would print some thousands .

But that is not usually done , at any rate on a hand

— press , but by steam and from transfers , which I will explain . o But the way in which most artists w rk today , and the way in which it is necessary to work if you) to ou t are going work of doors , is to draw on paper . All you do is to make the drawing on a sheet of rather

ou — on e on thin paper, any sort that y like this is tracing paper — the only absolute necessity is you must use lithographic chalk . This method was the ’ earliest of Senefelder s discoveries , yet the method was abandoned for many years . The reason why lithography has been revived is because artists have learned that they can make their drawings on any sort of paper they like, provided it is reasonably thin and has not too much size in it . The next thing to ou do after y have made your drawing on the paper. i s o n u s e ho t to dampen it the back ; some printers , to some cold water, some add turpentine or acid it , n ow as he is doing , and wash the stone or plate , extr aor then pass it through the press , and a very di n ar o r — y thing will happen , should happen some ’

. as i s times it doesn t happen That is , the drawing passed through the press , the grease which is in this i s chalk with which the drawing made , comes out o f the drawing o n the paper and adheres to the zinc o r o r plate , while the carbon lead , whatever the

290 TH E GRAPHIC ARTS marbles which are rolled violently around over it o r in sand until the grain is made , it is done by a for sand blast . The reason using the grain is that if you drew on a perfectly smooth stone , every line ,

- as in photo engraving, would print perfectly black ; you would have no way o f making greys . If you do want solid blacks only in the design , you not u s e a n y grain on the stone . These drawings may be made with pen o r chalk . But if you have a

— — i n to drawing with tones greys it , in order keep them and break up the solid blacks , there must be a grain on the stone ; or else they will all print solid

for . black . So much that There is , however, in the artiﬁcial grain on the stone a certain quality, and that quality is to certain artists very pleasing indeed, but it has nothing to do with the art of lithography s a at all , though some people y it gives the litho graphic quality . But it is not an artistic quality .

Many people prefer it ; on the other hand, many artists will have nothing to do with the Stone ; S l they hate it . The o en hoefen stone is best because it h as a uniform surface and absorbs water and grease perfectly . If you are doing a drawing in a lithograph shop u s e it is inﬁnitely better to the stone, because you are sure that the drawing will print . But when you make a drawing on paper and transfer it , as the do printer is going to , to the stone , you are not absolutely sure what you are goi ng to get . The 13 i n result many ways uncertain . Of course in working seriously o ne Should have all these things ready, but the great , eminent , and very generous artists sent in t heir valuable contri a o butions only about ten minutes g , and it requires some little time to get them ready . There is no LITHOGRAPHY 29 1 great secret about this . All the printer has done is to wet the back o f the drawing with a sponge and water . is to He going transfer two drawings , and this o n e o f ought to be rather interesting, because them is done on a thick piece of paper and is rather elabo rate i n tone — they are both elaborate— and the on other is a thinner paper . All he does now is to la o n y them face downward the stone . He must be very careful about keeping all these plates and Is stones damp , because otherwise , if the plate allowed I o n to dry and the ink s rolled it , when the drawing is put down on it the grease is very liable to spread and smear the drawing . o f He is dampening the face the zinc , that only

- o n . the drawn parts may take the ink Lithography , s o i s though simple , only beginning to be understood , because for the ﬁfty o r sixty years in which it was ex eri used only for commercial work , scarcely any p ments were made . I t is only within the last few years that artists have been trying experiments , and it i s only within the last few years that we have learned how many ways there are o f making drawings . All the drawings I have here this afternoon are drawn with chalk . But drawings may be made on now with a pen paper and transferred, as these will be . They can be made with a brush . They u nre can be made with wash , though that is rather liable to transfer to stone , and it is better to make

on or . wash drawings stone, zinc , aluminium

He is now putting pressure on the press , and he to runs the drawing through it . I simply wanted s ee o f , by raising the edge the paper, whether the drawing had come o ff of the paper and adhered to 292 THE GRAPHIC ARTS

as . the stone , it should I t sometimes takes several runs of the press before the grease will come out . The only danger in doing so is that the drawings stick to the zinc plates , and then I can tell you you have a very lively time to get that piece o f paper ff o . The professional printer does not work in this way . He runs the paper repeatedly through the press , wetting it each time till the paper becomes off pulp and is washed , and the drawing adheres to the stone . You see now I lift them off the press and there are the drawings , and very elaborate ones they are , and nothing apparently has happened to them . or But I can see up here that the grease , a certain amount of it , has been extracted from them . There

— i n are the drawings , apparently uninj ured fact u they are n o t injured at all . Yo could run these drawings through again , put them through the Off press again and more grease would come , because till n ou h there is s e g in them to transfer to the stone . Putting them down in this way is what is called ' transferring . This also was su pposed to be wrapped

ou . in mystery, but y have seen how the work is done

But there is almost nothing to be seen on the stone . In order to make these drawings print he will o wash the drawing n the plate with an inky rag . i s s ee . There hardly anything, that you can I can ee s the ghost of the design o f both o f them . He n o w washes them with gum arabic and water in a way to protect them . And we are doing just as we did last week in etching ; I mean that we are doing things in ﬁve minutes that we ought to take at ff least ﬁve hours to do . And sometimes these a airs become rather refractory and do not act the way they ought to under such treatment .

294 TH E GRAPHIC ARTS that . And that is the way the lithographer always

. You talks . He always blames the artist will ou ﬁnd , when the school starts , that y will get all f i s o . the blame . It never the fault the lithographer But I do think there is something wrong with the chalk which has been used in this drawing . You s ee o n e ou t as can that drawing has come , he rubbed on e it up . The other probably would come, but it would come very slowly indeed . And we have no t time to humor and coax it . So we will try others .

These drawings , after they have been trans ferred and rubbed up in this way, ought to be allowed to dry, because at this time the surface of ou the zinc is very sensitive , and y can very easily, when putting the ink on , either smear the drawing o r off all up and get it perfectly black, rub it all and destroy the design . But the zinc and stone are o f a very forgiving nature as well as very absorbent , otherwise they might Obj ect and give up entirely But they do act i n an extraordinarily sensitive fashion , as you will see .

It proves , as I said a moment ago , the advantage o n or o n of drawing stone zinc , because then every I thing you draw prints as you drew t , the only change 1 3 being that the drawing reversed , as all engravings are reversed . h These others , although you have not seen t em yet— have come perfectly ; none of the black coloring u matter has been taken o t o f the designs at all . Yet equally black designs are on the zinc plate and now they have printed perfectly and here be side them are the originals . I or There s no end, however, to the means the o f methods making lithographs . Those colored : D W N AND O R P P N R GEORGE W . EGGERS RA I G LITH G A H RI T F OM IT O R P H AN S UNGER : HEAD . LITH G A H

O AU BREY B EARDSLEY: POSTE R . LITH GRAPH LITHOGRAPH Y 299

' o ou p sters that y have seen , the war posters that were for o ne issued Liberty Loans , were nearly every

— I o f — of them think all them done in lithography, but they were nearly all o f them done by men and women who did n o t know anything about lithog h r ap y . And the drawings were mostly made no t in lithographic chalk , but as water colors or oil s o paintings , and when they had been made , the originals had to be photographed o n to Sheets o f zinc or stone or redrawn o n the zinc or stone by a trained craftsman in lithography, whereas if they had been made in black and white just as the

Japanese wood cutters made their drawings , just as the students have made these drawings , they could then have been transferred just as these can u be, to the stone or metal plates , and printed . Abo t ﬁve of the ﬁv e hundred artists who made war posters understood lithography, and the other four

- ﬁ c on s hundred and ninety v e did not . The e q u en c e was that the four hundred and ninety- ﬁv e n o t posters had to be redrawn , and this only delayed the United States Liberty Loans , but it cost the United States government an enormous su m o f money for unnecessary time and labor . And every artist whose work was copied and redrawn also was disappointed . He knew nothing about the

o f s o - art , and most the called lithographic artists knew nothing about design , and the result was that in every case the drawings were changed and lost in character, excepting those of the half a dozen men who did know . There was the usual row between the artists and the lithographers , and in this case the lithographers were right . Artists made draw ings for those Liberty Loan posters in colors which would not reproduce, and they made them in such 3 00 THE GRAPHIC ARTS o a fashion that they had t be redrawn . And it was all the fault o f the artists who had n o t been trained technically— and many of them were too o r lazy or too stupid to learn even care . Now what you are going to learn in this school is how to work, because lithography is a craft , and ou ou y have got to learn that craft , and unless y have mastered i t— and there are many things which are diﬂi cu lt and many which are easy— you are not o f ﬁt really, and you will never have the chance being allowed to work for a lithographer ; because even a lithographer is not a benevolent institution , though a good many people seem to think that art is a benevolent Insti tution in which artists who have n o t learned their trade can play tricks upon less intelligent manufacturers , but even they know to enough not to allow it be done , at any rate, on after e encounter with an ignorant artist . If you are trying to make a design in color it should be made in black and white , treated exactly as as a Japanese wood block is , I have treated these plates . When the black and white drawing has on or as been put the stone the zinc plate, many transfers of it in greasy ink should then be taken as on e for colors are wanted, color each stone or plate, and those colors should be applied exactly as the on e on to o f Japanese do one after the other, not p do the other, as the lithographers , but side by side as a mosaic . If you remember the two posters that I Showed ou y by Beardsley and by Falls , they were done in ou t so this way, and they came wonderfully because those artists knew how to draw, and draw for the u lithographer . And yo must know how to draw you must know how to make lithographs before

3 02 THE GRAPHIC ARTS The printer is rubbing the zinc with gum and now Off water to protect them ; he washes the gum , to on and rubs them with ink get faster, but it is no t the best or the safest way ; he should roll them o f u up with his roller, but in this land h stle, we do things in a hurry and repent at leisure . There are an inﬁnite number o f other ways in For which lithographs can be made . example, as ou ou on e y may remember, I showed y the other day in which the whole surface o f the stone was "blackened with a tone o f ink and then the design scratched ou t with a scraper or with a point just as mezzotints are made . Aquatint grounds can be put on the surface . The stone may be etched or or into relief, it may be engraved, the drawing may be etched into it . There is n o way at all by which a lithograph or cannot be made, a beautiful result be obtained, by a trained artist . Just as in all the other graphic

on e — arts , there is that little necessity the artist must know how to draw before he can make a

or o f o f . A lithograph , a work art any sort nd besides he must be trained in the craft .

Those drawings are coming up perfectly n ow.

They will at ﬁrst be somewhat weak, as the others

. do no t were, but they are all right I know what on e was the matter with the ﬁrst , but I think it was the crayon the artist used instead o f lithographic

. was so chalk The printer says it , that is the end o f it . In making wash drawings it is better to work on o f directly stone , because the transferring wash is fﬁ i n s ow . very di cult , though it being done And those wash drawings that I showed you by Whistler r a e on and othe rtists w re done stone , because, as LITHOGRAPHY 3 03 s a o f o n I y, the use wash paper is very uncertain , and very unreliable . But few artists today are using the stone , preferring paper, at any rate to commence their work on . But after you have got the drawing o n the grained stone or zinc you can work to any extent o n i t with chalk or with ink

or . with wash Before it has been etched, when it n o w is in the state that this is , before it is washed ou on or with gum and water, y can draw i t take anything from it . After it has been gummed up diﬂi c u lt to and etched , it is rather make changes , though you can remove the etched surface and the on gum and water by using other acid it , counter ou etching, as the lithographer calls it, and then y can make any changes you want to . You are not prevented from making changes because you have drawn o n paper and then transferred the design

. fﬁ to stone In fact , the only real di culty about ou making lithographs upon paper is that , unless y have some specially prepared paper with a surface ou through which y can scratch , you cannot make any changes at all on the paper, and you must wait until you get your drawing on the stone before you do so .

There, he has taken the turpentine and washed

i . the drawing all out . I t s apparently gone That is on e o f the most curious things about lithography .

But the grease is there in the plate . And now he inks it with the inky roller, and now in a moment he washes it ou t ; it has disappeared ; and n ow he rolls it up , and the drawing has come back again . The ﬁrst time you make a lithograph and s ee that done You to your drawing you will have rather a fright .

i s . will think it is done for . But it not The grease ‘ o r l a te . is in the stone p , and it will come back It is 3 04 THE GRAPHIC ARTS only the ink on the surface which the printer has washed off . The whole surface is now coated with ink in order to get it to adhere to the drawing . One wishes all the time that on e could make use of that beautiful i s on tone which now the surface of the plate , but there i s no way that has been discovered yet o f really ﬁxing it and getting tone , unless you draw a tone on it with stumps or rags covered with powdered

- o r touche . soft chalk , the printers call it

There are other ways , and I wish I had time, but it would take a week to Show you half the ways in which lithographs are made . They will be taught . They are what you are going to learn In this school that 18 to be started at once . You will learn that there are endless methods , and if you care for lithog r aphy you will ﬁnd them fascinating . Now o ff to the ink is washed , owing the plate o n having been dampened , only remaining the lines, and those two designs are coming up wonderfully, r as m to pe fectly, well as they could be ade , right You n o away . see how long it takes . There is who n o ho intermediary, no one copies your work, p r h n o r to a o . g p y, engraving etching These are the n ot drawings that the artists made , multiplied ; reproduced, but multiplied . They have printed I perfectly . There S nothing so extraordinary In the graphic arts as the sensiti ve way in which these a drawings disappear, and then reappe r by having on a little ink put them . It is nothing more than the fact that the grease attracts grease and repels

. IS so i water I t magic, yet it is simple , that art sts never even tried i t for ﬁfty years— so simple it fell “ ” o f into the hands the manufacturer, as the lithog ra her p calls himself.

INDEX

ZSI C) TFIIIE (3 111XI?III( 3

o 1 1 6 0 1 6 1 6 1 0 — 1 Chaucer The elmscott 8 8 . See Dry p int , 5 , , 5 , 9, 7 7 , , K , o W . M rris A ec 1 8 2 1 1 i lle Durer , lbr ht , , 3 , 7 9, 95 , 4 , Ch efdev , 7 9 2 2 1 6 1 8 1 6 2 1 8 1 3 , 1 4, 3 , 3 7 , 1 3 , 1 5 3 , , 7 , - C 2 . S ee A hi cago city pla nning , 7 rt , Insti tute of Chicago A A A ea ch 1 8 n ngel pp ring to Joa im , e Chines , 3 ea Ca o 1 1 8 1 Gr t nn n , 3 7 , 3 , 3 9 Chodowi eck i 1 , 5 4 Du M u e 8 a rier , Georg , 3 C c M um Sc L I a Punch in innati use , hool of ithog llustr tion from , 3 9 raphy . 2 73 u ck F . 1 1 6 1 0 D vene , , 5 4 , 7 , 7 C T o 0 7 9 Th e a 1 64 ole , im thy , 5 , Ri lto, ’ H a m c e d of Flora, fro otti elli s “ B 2 Spring , 5 Ec u A 2 68 ole des Bea x rts,

C 6 2 1 2 2 0 8 — olor printing 6 7 , 3 , 2 2 1 , E , o W. 6 8 0 ggers, Ge rge , 7 5 7 , 7 , 3 C 60 6 6 68 Drawing and L ithograph Print olor prints , 5 7 , 5 9, , 4 , 7 , ; a 6 6 1 2 ro It 2 95 Jap nese, 5 , , 5 3 f m , E a 2 1 C m c 1 0 1 0 lectropl ting , 1 o i artists, 4 , 7 E 1 6 1 2 8 2 1 Conté 2 ngland , 9, 5 , 9 , 3 , 5 ; , 93

o 2 3 8 a n , C 2 2 1 8 lith graphy in , ; met l e graving opper, 1 9 , 2 1 oo 8 ; w d engra ing , 3 3 i T v Cornh ll , he, 3 8 E a 8 ck - 1 2 ngr ving , ; bla line, 3 ; and C 2 orot , 4 c 1 1 2 m 1 2 et hing , 3 7 ; line, 9; on etal , , C m 1 ot an , 5 7 1 8 c e 80 , 1 2 uc , 2 3 ; pro ss, 4 ; reprod ed 4 ;

oo 1 - 1 2 0 C a 1 1 6 t ls, 3 ; hite line, 3 ; on ood, 3 r ne, Walter, , 5 w w C P Beaut an d the E c L 2 0 olor rint for y s orial ibrary , Beast 6 , 4 E The 1 8 6 1 tcher, , , 99 C u h k 1 6 2 r iks an , E 1 6 tching I , 1 1 1 , 1 3 7 , 3 8 , 1 , , s 3 , 3 5 4 ut m C er, 3 3 1 2 0 2 2 0 8 The , 1 ; colo r, ; 94 4 , 5 E c 1 — 8 6 u 1 0 z t hers, 3 5 ; gro nd , 9 ; Da ie , 3 4 l l — 2 m z 1 methods , 1 8 7 1 6 ; ez otint , 5 9; 2 z 3 , 9, 0 , 4 , Dal iel Brothers, 3 4, 5 3 4 m o 2 0 6 1 on type , ; needle , 5 ; press , 2 0 2 1 k n 1 1 u 5 , 3 ; smo i g , 9 ; soft gro nd , ’ Dalz iel s Bi ble Galler 8 2 1 2 1 e u 2 1 0 y , 4 , 49 1 1 8 , 9 , 9 ; t chni e ; 5 7 , 3 q , z c c 1 8 8 e H . 2 on in or opper , Daumi r, , 3 1

Rue du Transnonai n , 2 3 3 E E mu 6 6 6 vans, d nd , 44 , 4 , 4 , 5

Defoe, 44

Goncourts 1 8 2 2 a C . 2 1 0 0 De , 7 , 3 F lls, B 7 , 3 E The 1 1 ux He 2 agle , , 7 De Gro , nri , 45 P 2 6 oster , 6 De Hooge , 1 0 8 - L a o 2 2 2 Fantin t ur , 44, 5 ac E . 2 Del roix , , 3 7 2 6 Roses , 3 The L o A 2 i n of the tlas , 3 5 2 Symphony . 3 5 c c 1 1 Design , de orative and realisti , 2 A. 1 Favre , , 5 V n 0 De i ne, 5 On l es a ura "2 48

Di al The 1 Fi a 1 0 2 1 , , 9 g ro, 4 , 5

Drake , 5 0 L k Fildes, u e, 43

Dra ing , 8 ; chalk, 92 , 94 , 23 1 ; c ha r c 2 w Fis her , Otto , 44 c 1 0 1 1 0 1 1 1 2 1 E h oal, 9, , , 5 ; nglis and M 6 6 6 1 c . Flet her , F orley , 5 , , 7 c 2 8 2 6 c 1 Fren h , 3 , 7 ; for et hing , 99; M c ea do S eet . ey blo k and 1 2 r 2 2 P w w K line , o iginal , 1 pen s ee en 5 ; ; , print , 64 drawing ; to reproduce, 8 0 , 1 0 3 , 1 2 6 ; Fli e ende Bl otter 1 0 m g , 4 Spanish ethod , 8 5 ; on stone or 2 z c 2 1 0 2 1 2 6 2 1 a . L . 1 0 1 2 5 1 in , 94 ; wash , 3 , 3 , 4 , 5 , For in, J , 4, 5 ,

2 5 5 . 3 0 2 Th e Letter, 2 5 0 INDEX 3 1 1 F r u n M a a o t y , ri no , 8 0 8 H d 7 9, 5 n e 1 1 ar i g , Georg , 3 tudy f o Dan ller s Li e o ’ S r m f f Har e s Ma az i n e 0 p g , 5 , 8 5 , 8 7 Fortun 6 r y , 7 ’ Ha per s Weekl 1 0 r y , 9 ran ce : l1th o ra h in 2 2 8 2 1 F g p y , 3 7 , 3 , 5 ; Ha e 0 e o 2 1 ood rv y , William , 3 s ap rts of , w engra ing 3 ; v , 8 0 H a do e a e 0 3 3 , y n , B nj min Rob rt , 3 A R 1 0 Hensc hel Ca r" Frost , rthur , 4 , , 99 Our Cat E ats R at Poison 1 0 H r , 5 e k om er , 43 ’ He ri ck s Poems 0 r , 5 Gav arni A. 2 3 2 , , Herv i er 2 , 3 2 Pére Vi relo u e 2 q , 3 4 H o e 6 1 i shig , 5 , 5 9, 7 4 e ca 2 2 2 2 2 r G i ult , , 7 r Th e Fall ng ock e t i R , 5 7 e : 2 2 0 al e 2 2 0 G an a tists , ; g l ries, ; rm r Hobb Ho s e Th y , e, 96 e od 6 r m th , 9 Ho a 1 0 1 6 2 g rth , 49, 5 , e a 1 0 1 6 6 1 0 2 2 1 2 2 2 G rm ny , , 9, , 4 , , , Hok a 6 us i , 5 , 5 9 H e 2 C a e 1 0 olb in , 3 Gibson , h rl s Dana 7 ’ Ho a d 1 1 Gal Bl as I l ust e 2 1 ll n , 4 r , 5 Ho a 1 ll r , 99, 49 Gillot , 7 9 Ho e o 2 Good Wo ds 8 8 m r , Winsl w , 7 7 r , 3 , 5 Hoo H 8 8 c 1 1 per , W Goua he , 3 Ho e H e e t 6 GouldI n C a 2 2 rn , rb r , 9 , h rles g , 7 Ho o o a L c e a c co 1 2 2 ught n , Arthur Boyd , 43 G y y u i ntes , Fr n is , 5 4 , 7 The To Th e F 2 2 6 mbs , 45 Bull ight , Th e c e 1 6 Hullman del 2 8 1 Wit h s , 5 , i c A Th e 1 0 1 2 1 H H a 2 8 Graph rts, , , 5 , 5 3 , 3 3 , 7 , unt , W olm n , 3 7 , 3 2 2 0 2 2 2 2 1 2 8 2 0 2 0 0 The L ady of Sh alott 6 , , 3 , 7 , 79, 3 , 3 4, 3 5 ; , 3 2 6 d e ﬁ d 2 E b ook s on , ; ne , , 7 , , gy p H d y e , Helen , 6 6 a ac ced 8 1 8 8 0 — 1 0 0 0 ti ns pr ti , , 9 , 5 ; H n erotomachi a Poli hili y p ( p ) , 1 , 1 9 1 1 7 etching , 3 5 , 8 7 illustrati on ; , 5 5 ; e o 1 m n and eth ds , m I a 2 0 2 1 llumin tion , ,

Gr a hi c The L on don 43 , 4 5 , 1 0 8 p , , I a o 1 1 llumin t rs,

I a — llust t on , e a 2 r i 5 5 3 ; Durer b g n , 3 ; metHods 5 — 1 od e d e o , 5 3 3 ; m rn ev l p E z 2 ree n , li abeth Shippen en of 8 e G , 7 , , 1 1 5 5 7 , 9 , m t 5 n wspaper , 3 ; o e o 1 1 6 e e p f ssi n , ; r p oducing 6 tec h , ; Gr gory , 43 r r ni cal e i p rfec tions , 8 e e o 6 2 m Gr in r, Ott , 9 , 44 I e E sab y , 2 3 1 E . Griggs , F , 99 e to P 2 R turn ort , 3 3 e 2 Guerin , Jul s , 7 I a e a 1 t lian , 99; ngr vers , 5 4 e a e Pea T P 1 Guthri , J m s ( r ree ress) , 9 ac e C a e J q u , h rl s, 3 3

a a e e : a rt a 60 c Hade F Se ou 1 6 1 6 6 1 6 J p n s , 43 ; rtists , ; olor n , ym r , 5 , , 7 6 6 1 2 a o 6 H h 1 0 p ints , 5 , 5 3 ; illust ti n , 5 , 7 7 ; and s E tt mg , ; r r o e e e o d r n Ca e 1 6 i p nts by , 5 9; th s , 5 9, Kl lg a c stl . m r v m m 6 0 2 1 2 1 2 1 e 8 S e In I e a d 1 6 0 , 7 , 99 , 3 , 4, 7 4 ; p int r , 5 ; uns t r l n , r 1 2 ood c 1 2 1 6 prints . 4 ; w utting , 3 , , 3 H — 1 2 6 1 2 1 0 alf to ne , , 9, 3 n hn 0 J u g g , 5 Ha a z 8 ls , Fr n , 7 J ugend 1 1 5 2 1 6 2 Ha e ton , , m r A e eme 1 1 dv rtis nt , 9 ’ H e m WIIli am M o P amm rs ith , rris rint S o a t ea 1 0 0 ing h p 93 K ts ,

H a n fs ta e n c l e e n e C a e . . 1 0 . 1 2 6 K , h rl s 49 7 Po a of S e 2 2 Th e U ec z d VISi tor 1 rtr it enefeld r, 3 nr ogni e , 5 3 1 2 THE GRAPHIC ARTS e o ck el 8 Mam ere n oi r 1 8 2 1 2 K nt , R w l , 7 , 5 , a C in , 7 5 M a e nt gna , 1 3 8 ha E am Omar 1 0 . S ee K yy , , 9 lihu M a c V nus ript edder e P a om Bibl , ge fr , 9 ’ I llu inat ed 1 1 L adi es Home ourn al , J , 3 7 m I a o o 2 1 l llumin ti n fr m , L a M . a nne , Miniature from 2 6 E c an d T 1 6 , t hing int , 9 M a 2 1 o d c 1 ris , 5 Soft gr un et hings , 93

° M a rtin , Henri 2 6 L a c a e a 1 1 1 , 4 nds p , rtists 8 0 1 , 6 , 8 2 , , 4 5 Th e V 2 2 ision , 47 D utch , 5 1 M a Lane 2 8 they , 3 P e c Ro s 1 8 L ortrait of F li ien p , 7 arson , 1 0 8 M a P uron , aul 2 L , 47 av oig nat, 3 4 Ma P y , hil 1 0 1 2 , 7 , 5 ch Lee , 49 The Parson 1 0 6 , L L 1 8 2 egrand , ouis, M . L . E eissonier , 3 4 M a e 1 J t rnity , 95 o L es Con tes Remoi s 2 Fr m , 3 L o L o eight n , rd , 49 M e z A v on 2 n el , dolph , 3 3 , 3 , , 2 2 S C Off a 4 43 5 a son arrying the G tes , 47 m Th e e 2 Gard n , 3 9 L c 2 emer ier , 3 7 Th e d T Sa S c 1 Roun able at ns ou i , 3 L e Au u 2 1 2 1 8 2 ep re , g ste , 7 , 7 3 , 4 , M e d re ith , eorge , 3 7 ’ ’ G C a thédra le d Ami en s our d in , j Me - r on C. y , , 1 6 1 6 2 v entai re , 1 8 3 Th e College Henri ua tre 1 6 0 Q , No : L e tre Dame Soir , 7 3 M a a 2 et l : engr ing , 1 , 1 2 2 1 8 L 2 v 5 , 3 , 9, 3 ; e eille, 3 , 3 4 v c o n 1 a e 2 et hing , 3 5 ; pl t s , 79 L a Co ibr ry o ngress, 43 f M o : 8 8 E 6 1 ’ eth ds early , ; uropean , 5 , 9 ; L I llustrati on 1 0 8 , ren c h and English 1 a a e F , 9, 3 3 ; J p nes , L 2 s ee a e e 1 — 6 S a innell , 3 7 J pan se ; mod rn , 5 3 , . p n 8 0 L 2 2 1 2 2 2 2 2 ish , ithograph , 1 0 , , , 6 , 2 7 3 9, M ez z o 2 1 1 2 tint , , , 8 1 , 1 4 5 7 5 , 5 9 3 , 2 43 — 44

M Si r E e 8 illais , John v rett , 3 7 , 3 ,

Th e Sower , 40 2 2 8 2 0 2 art of ca 7 7 , 7 , 9 , 93 ; multipli Millet Jean Fran ois 2 , c , 45 2 Th e A 2 1 — tion , 7 8 ; rtists , 7 7 3 ; diff e rs Mini ature ro ea ly a nusc ript 2 6 e c and 2 6 ﬁ f m r m , from t hing engraving , 4 ; rst — M o e 2 0 6 oo 2 20 of 2 1 8 on typ , b k by , ; invention , 3 7 , 2 8 e o 2 — 0 7 ; th ds, 7 5 3 5 ; photog M o 1 1 8 8 1 2 6 m rris , William , , , 9 , 9 , 9 , 99 , ra h 2 1 2 2 1 ec ec 2 y , 8 , ; s r y of , 1 1 k of 1 p 5 5 ; 3 ; boo s , 9 ea 2 1 8 2 2 1 2 The e s c Chaucer 0 st press , , ; theory of , 3 7 lm ott m K , 9 A H iL o an , 93 gg . 99 t ammersmith M d o T o L a C a d 2 oxon , e iti n o ennys n , 3 4 , orr in , l u e , 4 f Pen a nd a h D 2 6 W s rawing , M a a 8 8 L c a 1 urr y , Fair x , u as , D vid , 5 7 f The elmscott Chaucer 8 8 L e e a 8 K , ungr n , F rn nd , 5 Lunoi s 2 6 , 4 Nanteuil 1 8 , 3

M a e N A Sc ahoney , J m s , 44 ational rt hool , 7 M a z e e M u u 2 0 N A c E o in , Gut nb rg se m ational sso iation of mpl ying L a 2 M a a e S é e 2 ithogr phers , 7 5 ll rm , t phan , 5 3 N e o 1 0 M e Ed d 2 eedl p int , 9 an t , ouar , 5 9 . 45 ’ “

I P e 6 N C . W. 2 6 2 llustration for o s Raven , 3 evinson , , P a d e Fe e 2 0 The oa 2 6 ortr it mm , 4 R d , 4

3 1 4 THE GRAPHIC ARTS o 2 8 S 2 6 R ssetti , Dante Gabriel , 3 4, 3 7 , 3 terner, 7 Th e P c A ala e of rt , 3 5 S 2 1 8 chi 0 2 tone, ; et ng on , 3 ; Solen o a 2 6 2 6 1 h 2 8 2 0 00 R thenstein , Willi m , 5 , oefen , 9, 9 ; transfers on, 3 ck Portrait of Charles Ri etts and ri xner 2 1 St , 9 C 2 8 . H . Shannon , 5 Studio, 66 e 2 0 8 Rotogra ur , v u St rgis, L ee d o 1 Rowlan s n , 5 4 Etc hing Press Designed and Made The S 1 ofa , 5 5 2 1 by , 3 2 ubens, 4 E R S a . . 1 0 1 1 2 ulliv n , J , 9, k o 1 8 2 8 E l ements o S a tor Resarl us 1 1 2 Rus in , J hn , 5 , 3 ; f r , Drawi n 1 g , 73 S e 8 wain , Jos ph , 3 , 3 9, 47 uz ck 1 R i a , 7

y erson Library , 3 n . , 1 4, 66 T 2 2 8 R aylor aron , , B

T . 1 0 1 1 0 2 6 aylor , F Walter, 9, , 5 S t . C ﬁ c 1 0 hristopher , rst wood blo k , , T he Nurse, 1 1 1 2 1 , 1 6 Po 1 2 rtrait, 7 Sa c 2 8 ndys , Frederi k , 3 7 , 3 T e 1 egn r , 0 8 Th e Old Cha rtist , 3 9

T e Si r h , 9 S e 2 6 enni l , Jo n 4 arg nt , 5 Ali ce i n Won derl and From , 47 S 96 ’ attler, Joseph , M Tennyson , oxon s edition , 3 5 , 3 6 Wunderfarb er Der , 97 T m Si r H , , 3 L 2 6 C ho pson enry 4 School of ithography , 7 ; at in

- ci n nati 2 Three color process, 1 2 , 73 3 T o 2 c e C 1 0 0 int retti , 3 8 S hwab , arlos, ’ I u Z Le Réve 1 0 1 ll stration for ola s , Titi an 2 3 8 ,

Sc ribe , 1 1 T e 1 2 0 2 8 1 2 0 0 2 0 on , , 7 5 7 , , 9 , 3 , 3 4 m M u c 1 Drawing fro an s ript , Touche, 3 0 4 Sc e k m E rib at Wor , fro leventh T u - L u c H Ce M 2 oulo se a tre , enri ntury S, 1 Th e P 2 1 ’ rinter , 7 cri bn r s Ma az i ne 0 8 S e g , 5 , 5 T e A 2 1 reidl r, dolphe , 7 Sc 1 ulpture , 7 , 9 i T e i a 1 0 Tr bune, h Ch c go, 4 e e A 2 1 2 1 2 2 8 1 S nefeld r lois 8 , 3 , , 3 , 7 , , T 8 2 2 2 rollope , 3 8 , 8 8 , 2 93 ; Gr ammar of Li thog

a 2 2 2 . 1 8 M . r h 2 1 2 1 2 2 2 2 2 2 8 Tu . W 0 1 p y , 9, , , 4, 5 , 9, rner , J , 3 , 5 5 , 5 3 0 1 Th e Junc tion of the Severn and the W e 1 y , 5 5 Seymour , 1 6 2 ’ H c . C St atherine s ill , et hing and

H . 1 2 6 S C . V hannon , , 9 , 5 . See ale mez z otint 1 5 9 Press , Twachtman John H . 2 , , 7 7 S 2 6 1 haw, George Bernard , S e e c hields , Fr d ri k, 44 Unger, Hans Silhouettes 6 2 , 9 Head , 96 S C e ith , att rson , 8 8 nz elmann m U , 3 4 The Kelmscott Chaucer 8 8 Utama ro, 5 6 H 2 S . k 1 1 0 mith , F op inson Sm h e c 2 it , J ssie Will ox , 7 V P 1 ale ress, 9 S o 1 2 E o t gr und , 8 . S ee t ching f Vallo ton F . 1 2 , , 7 7 , 4 S u e M u um Th e u o th K nsington se , 49 B rial , 74 S a 8 0 2 2 V ck A. 1 1 0 p in , , , 9, 7 an Dy , 4 5 ran ci scus S 1 1 S e 1 8 2 1 F nyders , 5 teel ngraving , 3 , 5 V d E u 2 i ed er , lih , 9 Ste nlen , Th . , 2 5 1 I u a o Omar ha am 1 8 M 2 ll str ti n from K yy , ars , 49 Po 2 8 V a u z 8 ster, 5 el sq e , 7 INDEX 3 1 5 V c 8 0 1 1 eni e, , 9 , 5 3 , 1 6 7 ac L a 1 6 Bl k ion Wh rf , 4 V 2 2 1 owl and Jar, eth , 5 B 4 The a Doorw y , 1 V c a A M e 7 5 i tori and lbert us um , 49 ’ Th e Major s Daughter 2 , 4 V a 8 0 8 2 1 2 6 ierge, D niel , , 5 , 9 , Po rtrait of Joseph Pennell 2 , 5 7 Th e Un 8 2 iversity , ea 1 1 W ry , 7 Vo e at Hi s P 1 6 g l , 3 4 Whistler ress, 7 E Whymper, dward , 44 alker, red , 3 8 W F Ed Wilson , gar , 5 9 1 1 1 2 1 2 6 2 r ar ork , 3 , 49, 5 , ; p opa W w He 0 2 Wolf, nry , 5 ganda , 5 1 , 2 99 ock : cu on 1 d e sc ri Wood bl tting , 5 ; p 1 2 . ash dra ings, 9 S ee Drawing W w 1 2 d a tion , ; r wing on 0 , 6 6 6 , 2 , 5 5 , 7 , c o 2 Water ol r, 99 1 1 1 2 2 ﬁ 1 0 o o 7 , ; rst , ; ph t graphing R T . . 2 2 2 on Way , , 5 , 5 4 , 44 A 1 8 oo cut 1 8 1 1 1 2 1 1 Weir, lden , 3 W d , 5 , , 3 , , 3 3 2 2 1 c e West , Wood utt r, 5 9 P o 1 6 o c — 2 8 3 , , 1 1 8 West int , Wo d utting , 5 5 3 , 7 , 7 Whi rlwi nd 2 2 8 0 1 2 , 5 3 Wood engraving , 5 , , 3 , 3 , 3 , 3 3 , M eill Whi a e A . cN 8 1 stler , J m s , 3 , 4 , 6 6 43 , 5 , 8 , oo 6 — 1 1 2 2 1 5 4, 1 7 7 8 , 8 , 1 8 , 1 99, 0 6 , 20 7 , Z inc , 2 91 , 3 00

A e Had 1 Z o A. 1 8 1 1 8 2 1 8 nni en , 45 rn , , , , 5 A Ha Hat 1 2 P a of a 1 8 0 nnie den in the Big , 7 ortr it Ren n ,