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How to Appreciate Prints

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How to Appreciate Prints CORNELL UNIVERSITY LIBRARY GIFT OF Prof. Vailjox Fine Aitt i Date Due AP^«4S6S ll^liifeti^ 1- Hy Library ate prints / 506 048 oenrgTuy^ ~l ?; ^j^|^y.ij:^.=»itfe^' i^^ APR 1 200^ Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020506048 HOW TO APPRECIATE PRINTS 4.^-3^\^'- L THE ENGRAVER. Dry-point by Whistler. The print shows Riault, a wood engraver, at work. The wood block on which he is engraving rests on a pad before him; on the table lie some gravers. (Courtesy of the New York Public Library Print Dept.) HOW TO APPRECIATE PRINTS BT FRANK WEITENKAMPF, L.H.D. CHIEF OF THE PRINTS DIVISION OF THE NEW YORK PUBLIC LIBRARY, AUTHOR OF "AMe'rICAN GRAPHIC ART," "etching AND CONTEMPO- RARY LIFE," ETC. {Third Revised Edition) NEW YORK CHARLES SCRIBNER'S SONS 1924 /f ^^ // 9 C COPVBIGHT, 1921, BV CHARLES SCRIBNER'S SONS COPYRIGHT, 1908, BY MOFFAT, YARD AND COMPANY Printed in the United States of America All Rights Reserved Published November, 1908 Second Printing, March, igoc) Third Printing, June, 1909 Fourth Printing, January, igii Fifth Printing. April, 1914 Sixth Printing, October, 1916 Seventh Printing, March, 1921 Eighth Printing, July, 1921 Ninth Printing, March, 1932 Tenth Printing, February, 1924 LIST OF ILLUSTRATIONS PAGE Thi Enckaver Frontispiece Dry-point by Whistler Lion's Head 20 Soft-ground Etching by Armand Point Rembrandt Drawing 2 > Etching by Rembrandt Mother and Baby 32 Dry-point by Mary Cassatt L'Absiik De Notre Daue de Paris ,5 Etching by Charles MSryon Sherb Mill Pond ^o Etching by Sir Seymour Haden, P.R.E. St. Marhn's Bridge, Spain 48 Etching by Joseph Pennell WiLUAMSBTntG (Brooklyn) ^a Etching by Charles A. Piatt Water Street, Philadelphia 54 Etching by Charles Henry White Elf and Bear 58 Etching by Max Klinger St. Jerome in His Study 62 Line Engraving by Albrecht Diirer The Rat Catcher 66 Line Engraving by CorneUs Visscher The Massacbe of the Innocents 68 Line Engraving by Marc Antonio Raimondi Portrait of Pompone de Bellievre 84 Line Engraving by Robert Nanteuil, after Charles Le Brun John Philpot Cursan 100 Mezzotint by John Raphael Smith, after Sir Thomas Lawrence vii viii LIST OF ILLUSTRATIONS PAGE NoRHAM Castle on the Tweed ii6 Etching by J. M. W. Turner for the Messotint NoRHAM Castle on the Tweed ii6 Drawn and Etched by J. M. W. Turner. Engraved by C. Turner (1816). Mezzotint Sm Francis Seymour Haden at 63 118 Mezzotint by Alphonse Legros A Plate from Frank Short's "On the Making of Etchings" 130 The Honourable Miss Bingham 148 Stipple Engraving by F. Bartolozzi (1786) Examples of Stipple Engraving 150 A Woodcut from Holbein's "Dance of Death'' . 170 Italian Woodcut by an Unknown Venetian Master of the I5TH CENTUR'k 172 The Annunication 175 By Geoffrey Tory. Woodcut Forest of Fontainebleau 164 Wood-Engraving by Elbridge Kingsley after Corot A Wood-Engraving 178 By Thomas Bewick One of the Hundred Views of Fujiyama . .212 By Hokusai Portrait of Tolstoi 228 Lithograph by Henri Lefort Portrait of Tennyson 244 Lithograph by Alphonse Legros View on the Seine (A Paris quai) 260 Lithograph by H. W. Ranger Portrait of Edmond de Goncourt (First state) . .276 Etching by Felix Bracquemond Portrait of Edmond de Goncourt (Seventh state) . 292 An Impression from the Cancelled Plate of Whistler's Etching "Millbank" 282 AS TO THE THIRD EDITION On the occasion of each reprinting of this book, various corrections and additions have been made. The book is sent to press, for the seventh time, with a keen appreciation of the increasing interest in prints which has made this reissue necessary, and which, it is hoped, the book may have done a little to arouse. F. W. January, 1921. A WORD BEFOREHAND To claim or attempt historical completeness for a book such as the present one would be preposterous. It would be futile to boil down all the facts in the many books on the subject into a compressed^ full and dry record of names and dates. Numerous data are given, as a matter of course, because they illustrate various general principles on which the appreciation of prints is based. .Esthetic criteria are inevitably influenced by historical and local association and by technical considerations, and these points must there- fore be brought out. But the emphasis is on ap- preciation, and the end in view will be fully realized if the reader is helped to see, whether he eventually agrees or not with the opinions expressed. The ob- ject is not to furnish cut-and-dried invariable rules, but to aid in the development of a critical spirit paired with liberal-mindedness. The various chapters are as independent of each other as they can be (considering the interdependence of the arts) and can therefore be read or consulted separately. The index forms a key to all essential facts, including certain topics to which a separate chapter could not be devoted, particularly book illustration, more or less extended references to which occur in nearly every chapter. XI CHAPTER I THE TASTE FOR PRINTS Not a few persons who are fond of pictures appear diffident before prints. They seem to fear that the whole subject is far beyond them, and make little or no effort to acquire a closer acquaintance with a form of art that offers most varied pleasures to those who have come to appreciate it in one phase or another. Anything worth striving for or learning is above us until we have succeeded in attaining a closer view and a better understanding of it. Timidity in the face of this subject, then, is not warranted. Rather an open- minded desire to learn. The list of books dealing with prints is not a small one,* and it includes some excellent guides for the col- lector; yet some of these, by their very mass of his- torical and technical data, and their aesthetic attitude, presuppose considerable information and a high devel- opment of taste in the reader. This may dishearten those who do not fully understand what they want, those who need the friendly hand of guidance before they are ready for the formal lecture of the expert. There are things that cannot be taught well in print, things which, after all, the reader must test for him- self. But he can be put on the right track. He can be helped to help himself, to see all he can in the right ^Two bibliographies of the subject have been issued in recent years: the portly quarto by Howard C. Levis (1913), with "Supplement and Index" (i9r3)> and G. Bourcard's " Graveuis et Gravuies" (1910). See also " Prints and Their Production" (N. Y. Public Libraiy, 1916). 2 HOW TO APPRECIATE PRINTS way and to read the right books at the right time. And that is what is attempted in the present book. There are various grades of art and of art lovers. "The earth has room for all," as Schiller said. The first step in the development of a love for pic- tures is the interest in subject; the second, the interest in realistic treatment. These two points are the ones which attract most persons when confronted with pictures. They are a natural and proper expression, based on the attitude of man toward his fellow-man and the rest of nature. They animated the men of the stone age, scratching representations of animals on a piece of bone, as they do the schoolboy making rude incursions into art on his slate or the fly-leaf of his schoolbook. Their popularity is exemplified in the atti- tude of the crowds that gather before certain paintings in our large permanent art galleries, such as the Metro- politan Museum—^paintings that tell stories, war-scenes, anecdotal genre. To say that this whole movement is wrong, or shows false taste, simply because it repre- sents a form of art not now in vogue among the fore- most artists, is really a mistake. As I said, there are various grades of art. There are different points of view and the supercilious attitude is always out of order. But humanity, in its acquisition of knowledge, its hopes, its aspirations, its ideals, is in a state of steady development. In art, it is the personal expression of the artist, his individuality—shown not only in mere tricks of style, but in his state of mind, his attitude toward the world about him—which counts most in the end. And that is why art in any form is not a THE TASTE FOR PRINTS 3 matter only of mere copying of facts. The line to be drawn is not always easy to define, perhaps. But one may best regard some extreme examples. The demand for subject and realism found strong expression in the vogue enjoyed by the chromos years ago. About the same class of people who made the popularity of these color prints at that time, to-day buy the original land- scape etching "at $2.37, framed." On the whole, this marks a step in advance, if only for the reason that the original etching, though it be a poor one, appeals to a more highly developed taste because it often "lacks the strong appeal of a story told, of a subject arousing human interest; and be- cause, being simply in black-and-white, it lacks also the strong aid to the less trained imagination which color gives. Of course, there are good chromos and poor etchings.
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