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<span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>Further reading</span> </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" 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mw-first-heading"><span class="mw-page-title-main">Etching revival</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. 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searchaux" style="display:none">Art movement between 1850s and c. 1930</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:David_Young_Cameron_-_Cameron-98301_-_Horse_Guards,_St_James%E2%80%99s_Park.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/eb/David_Young_Cameron_-_Cameron-98301_-_Horse_Guards%2C_St_James%E2%80%99s_Park.jpg/220px-David_Young_Cameron_-_Cameron-98301_-_Horse_Guards%2C_St_James%E2%80%99s_Park.jpg" decoding="async" width="220" height="212" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/eb/David_Young_Cameron_-_Cameron-98301_-_Horse_Guards%2C_St_James%E2%80%99s_Park.jpg/330px-David_Young_Cameron_-_Cameron-98301_-_Horse_Guards%2C_St_James%E2%80%99s_Park.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/eb/David_Young_Cameron_-_Cameron-98301_-_Horse_Guards%2C_St_James%E2%80%99s_Park.jpg/440px-David_Young_Cameron_-_Cameron-98301_-_Horse_Guards%2C_St_James%E2%80%99s_Park.jpg 2x" data-file-width="2250" data-file-height="2168" /></a><figcaption><a href="/wiki/David_Young_Cameron" title="David Young Cameron">David Young Cameron</a>, <a href="/wiki/Horse_Guards_Parade" title="Horse Guards Parade">Horse Guards</a>, <a href="/wiki/St_James%27s_Park" title="St James's Park">St James's Park</a>, signed and inscribed "Trial Proof – unfinished"</figcaption></figure> <p>The <b>etching revival</b> was the re-emergence and invigoration of <a href="/wiki/Etching" title="Etching">etching</a> as an original form of <a href="/wiki/Printmaking" title="Printmaking">printmaking</a> during the period approximately from 1850 to 1930. The main centres were France, Britain and the United States, but other countries, such as the Netherlands, also participated. A strong collector's market developed, with the most sought-after artists achieving very high prices. This came to an abrupt end after the <a href="/wiki/1929_Wall_Street_crash" class="mw-redirect" title="1929 Wall Street crash">1929 Wall Street crash</a> wrecked what had become a very strong market among collectors, at a time when the typical style of the movement, still based on 19th-century developments, was becoming outdated.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p><p>According to <a href="/wiki/Bamber_Gascoigne" title="Bamber Gascoigne">Bamber Gascoigne</a>, the "most visible characteristic of [the movement]... was an obsession with <a href="/wiki/Surface_tone" title="Surface tone">surface tone</a>", created by deliberately not wiping all the ink off the surface of the printing plate, so that parts of the image have a light tone from the film of ink left. This and other characteristics reflected the influence of <a href="/wiki/Rembrandt" title="Rembrandt">Rembrandt</a>, whose reputation had by this point reached its full height.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Moving_into_the_Boat_MET_DP822242_(cropped).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/Moving_into_the_Boat_MET_DP822242_%28cropped%29.jpg/220px-Moving_into_the_Boat_MET_DP822242_%28cropped%29.jpg" decoding="async" width="220" height="152" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/Moving_into_the_Boat_MET_DP822242_%28cropped%29.jpg/330px-Moving_into_the_Boat_MET_DP822242_%28cropped%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/47/Moving_into_the_Boat_MET_DP822242_%28cropped%29.jpg/440px-Moving_into_the_Boat_MET_DP822242_%28cropped%29.jpg 2x" data-file-width="2903" data-file-height="2006" /></a><figcaption><a href="/wiki/Charles-Fran%C3%A7ois_Daubigny" title="Charles-François Daubigny">Charles-François Daubigny</a>, <i>Moving into the Boat</i>, 1861</figcaption></figure> <p>Although some artists owned their own printing presses, the movement created the new figure of the star printer, who worked closely with artists to exploit all the possibilities of the etching technique, with variable inking, <a href="/wiki/Surface_tone" title="Surface tone">surface tone</a> and <i>retroussage</i>, and the use of different papers. Societies and magazines were also important, publishing albums of varied original prints by different artists in fixed editions.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Charles_Meryon,_The_Apse_of_Notre-Dame,_Paris,_1854_II.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Charles_Meryon%2C_The_Apse_of_Notre-Dame%2C_Paris%2C_1854_II.jpg/400px-Charles_Meryon%2C_The_Apse_of_Notre-Dame%2C_Paris%2C_1854_II.jpg" decoding="async" width="400" height="215" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Charles_Meryon%2C_The_Apse_of_Notre-Dame%2C_Paris%2C_1854_II.jpg/600px-Charles_Meryon%2C_The_Apse_of_Notre-Dame%2C_Paris%2C_1854_II.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Charles_Meryon%2C_The_Apse_of_Notre-Dame%2C_Paris%2C_1854_II.jpg/800px-Charles_Meryon%2C_The_Apse_of_Notre-Dame%2C_Paris%2C_1854_II.jpg 2x" data-file-width="3046" data-file-height="1641" /></a><figcaption> <a href="/wiki/Charles_Meryon" title="Charles Meryon">Charles Meryon</a>, <i>Abside de Notre Dame</i>, 1854, fourth state of nine.</figcaption></figure> <p>The most common subjects were landscapes and townscapes, portraits, and genre scenes of ordinary people. The mythological and historical subjects <a href="/wiki/History_painting" title="History painting">still very prominent in contemporary painting</a> rarely feature. Etching was the dominant technique, but many plates combined this with <a href="/wiki/Drypoint" title="Drypoint">drypoint</a> in particular; the basic action of creating the lines on the plate for these was essentially the same as in <a href="/wiki/Drawing" title="Drawing">drawing</a>, and fairly easy for a trained artist to pick up. Sometimes other <a href="/wiki/Intaglio_printmaking" class="mw-redirect" title="Intaglio printmaking">intaglio printmaking</a> techniques were used: <a href="/wiki/Engraving" title="Engraving">engraving</a>, <a href="/wiki/Mezzotint" title="Mezzotint">mezzotint</a> and <a href="/wiki/Aquatint" title="Aquatint">aquatint</a>, all of which used more specialized actions on the plate. Artists then had to learn the mysteries of "biting" the plate with acid;<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> this was not needed with pure drypoint, which was one of its attractions. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Historical_outline">Historical outline</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Etching_revival&action=edit&section=1" title="Edit section: Historical outline"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Odilon_Redon_-_Fear_-_1998.69_-_Cleveland_Museum_of_Art.tif" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b2/Odilon_Redon_-_Fear_-_1998.69_-_Cleveland_Museum_of_Art.tif/lossy-page1-220px-Odilon_Redon_-_Fear_-_1998.69_-_Cleveland_Museum_of_Art.tif.jpg" decoding="async" width="220" height="136" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b2/Odilon_Redon_-_Fear_-_1998.69_-_Cleveland_Museum_of_Art.tif/lossy-page1-330px-Odilon_Redon_-_Fear_-_1998.69_-_Cleveland_Museum_of_Art.tif.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b2/Odilon_Redon_-_Fear_-_1998.69_-_Cleveland_Museum_of_Art.tif/lossy-page1-440px-Odilon_Redon_-_Fear_-_1998.69_-_Cleveland_Museum_of_Art.tif.jpg 2x" data-file-width="4928" data-file-height="3052" /></a><figcaption><i>Fear</i> (<i>La peur</i>) by <a href="/wiki/Odilon_Redon" title="Odilon Redon">Odilon Redon</a>, an early etching of 1866.</figcaption></figure> <p>During the century after Rembrandt's death the techniques of etching and drypoint brought to their highest point by him gradually declined. By the late eighteenth century, with brilliant exceptions like <a href="/wiki/Giovanni_Battista_Piranesi" title="Giovanni Battista Piranesi">Piranesi</a>, <a href="/wiki/Giovanni_Battista_Tiepolo" title="Giovanni Battista Tiepolo">Tiepolo</a> and <a href="/wiki/Francisco_Goya" title="Francisco Goya">Goya</a> most etchings were reproductive or illustrative.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> In England the situation was slightly better, with <a href="/wiki/Samuel_Palmer" title="Samuel Palmer">Samuel Palmer</a>, <a href="/wiki/John_Sell_Cotman" title="John Sell Cotman">John Sell Cotman</a>, <a href="/wiki/John_Crome" title="John Crome">John Crome</a> and others producing fine original etchings, mostly of landscape subjects, in the early decades of the 19th century. <a href="/wiki/The_Etching_Club" title="The Etching Club">The Etching Club</a>, founded in 1838, continued to maintain the medium.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>As the century progressed, new technical developments, especially <a href="/wiki/Lithography" title="Lithography">lithography</a>, which was gradually able to <a href="/wiki/Colour_printing" class="mw-redirect" title="Colour printing">print successfully in colour</a>, further depressed the use of etching. The style typical of the Etching Revival really begins in France with the prints of the <a href="/wiki/Barbizon_School" title="Barbizon School">Barbizon School</a> in the 1840s and 50s. A number of artists, mainly painters, produced some landscape etchings which seemed to recapture some of the spirit of the <a href="/wiki/Old_Master_print" class="mw-redirect" title="Old Master print">Old Master print</a>. <a href="/wiki/Charles-Fran%C3%A7ois_Daubigny" title="Charles-François Daubigny">Charles-François Daubigny</a>, <a href="/wiki/Jean-Fran%C3%A7ois_Millet" title="Jean-François Millet">Millet</a> and especially <a href="/wiki/Charles_Jacque" title="Charles Jacque">Charles Jacque</a> produced etchings that were different from those heavily worked reproductive plates of the previous century.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> The dark, grand and often vertical format townscapes of <a href="/wiki/Charles_Meryon" title="Charles Meryon">Charles Meryon</a>, also mostly from the 1850s, provided models for a very different type of subject and style which was to remain in use until the end of the revival, though more in Britain than France.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Potato_Lifting_(from_%22The_Portfolio%22)_MET_DP861958_(cropped).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/11/Potato_Lifting_%28from_%22The_Portfolio%22%29_MET_DP861958_%28cropped%29.jpg/220px-Potato_Lifting_%28from_%22The_Portfolio%22%29_MET_DP861958_%28cropped%29.jpg" decoding="async" width="220" height="303" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/11/Potato_Lifting_%28from_%22The_Portfolio%22%29_MET_DP861958_%28cropped%29.jpg/330px-Potato_Lifting_%28from_%22The_Portfolio%22%29_MET_DP861958_%28cropped%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/11/Potato_Lifting_%28from_%22The_Portfolio%22%29_MET_DP861958_%28cropped%29.jpg/440px-Potato_Lifting_%28from_%22The_Portfolio%22%29_MET_DP861958_%28cropped%29.jpg 2x" data-file-width="1471" data-file-height="2024" /></a><figcaption><a href="/wiki/William_Strang" title="William Strang">William Strang</a>, 1882, <i>Potato Lifting</i>, published in <i><a href="/wiki/The_Portfolio" title="The Portfolio">The Portfolio</a></i>.</figcaption></figure> <p>The <b>steel-facing</b> of plates was a technical development patented in 1857 which "immediately revolutionized the print business".<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> It allowed a very thin coating of iron to be added to a copper plate by <a href="/wiki/Electroplating" title="Electroplating">electroplating</a>. This made the lines on the plates much more durable, and in particular the fragile "burr" thrown up by the drypoint process lasted much better than with copper alone, and so a greater (if still small) number of rich, burred, impressions could be produced. <a href="/wiki/Francis_Seymour_Haden" title="Francis Seymour Haden">Francis Seymour Haden</a> and his brother-in-law, the American <a href="/wiki/James_Abbott_McNeill_Whistler" class="mw-redirect" title="James Abbott McNeill Whistler">James McNeill Whistler</a> were among the first to exploit this, and drypoint became a more popular technique than it had been since the 15th century, still often combined with conventional etching. However, steel-facing could lead to a loss of quality.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> It is not to be confused with <a href="/wiki/Steel_engraving" title="Steel engraving">steel engraving</a> on wholly iron plates, popular in the same period but almost always for mezzotints and commercial printing.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p><p>Several people were of special importance to the French Etching Revival. The publisher <a href="/wiki/Alfred_Cadart" title="Alfred Cadart">Alfred Cadart</a>, the printer Auguste Delâtre, and <a href="/wiki/Maxime_Lalanne" title="Maxime Lalanne">Maxime Lalanne</a>, an etcher who wrote a popular textbook of etching in 1866, established the broad contours of the movement. Cadart founded the <i>Société des Aquafortistes</i> in 1862, reviving the awareness of the beautiful, original etching in the minds of the collecting public.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Charles_Meryon" title="Charles Meryon">Charles Meryon</a> was an early inspiration, and close collaborator with Delâtre, laying out the various possible techniques of modern etching and producing works that would be ranked with Rembrandt and <a href="/wiki/Albrecht_D%C3%BCrer" title="Albrecht Dürer">Dürer</a>.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p><p>For Hamerton and others, the father of the British Etching Revival was Francis Seymour Haden, the surgeon etcher, who, with his brother-in-law, the American, James McNeill Whistler, produced a body of work starting around 1860 that still stands as one of the highpoints of etching history.<sup id="cite_ref-griffiths69_14-0" class="reference"><a href="#cite_note-griffiths69-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> Haden was a collector and authority on the etchings of Rembrandt and it comes as no surprise that as Whistler, the younger man, began to show signs of veering far from the 17th-century model, Haden and he parted company. Figures from other countries included <a href="/wiki/Edvard_Munch" title="Edvard Munch">Edvard Munch</a> in Norway,<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Anders_Zorn" title="Anders Zorn">Anders Zorn</a> in Sweden, and <a href="/wiki/K%C3%A4the_Kollwitz" title="Käthe Kollwitz">Käthe Kollwitz</a> in Germany.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Stephen_Parrish,_November,_1880,_NGA_183602.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/54/Stephen_Parrish%2C_November%2C_1880%2C_NGA_183602.jpg/220px-Stephen_Parrish%2C_November%2C_1880%2C_NGA_183602.jpg" decoding="async" width="220" height="122" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/54/Stephen_Parrish%2C_November%2C_1880%2C_NGA_183602.jpg/330px-Stephen_Parrish%2C_November%2C_1880%2C_NGA_183602.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/54/Stephen_Parrish%2C_November%2C_1880%2C_NGA_183602.jpg/440px-Stephen_Parrish%2C_November%2C_1880%2C_NGA_183602.jpg 2x" data-file-width="4000" data-file-height="2216" /></a><figcaption><a href="/wiki/Stephen_Parrish" title="Stephen Parrish">Stephen Parrish</a>, <i>November</i>, etching, 1880</figcaption></figure> <p>It was Whistler who convinced the artist <a href="/wiki/Alphonse_Legros" title="Alphonse Legros">Alphonse Legros</a>, one of the members of the French Revival, to come to London in 1863; later he was a professor at the <a href="/wiki/Slade_School_of_Fine_Art" title="Slade School of Fine Art">Slade School of Fine Art</a>.<sup id="cite_ref-griffiths69_14-1" class="reference"><a href="#cite_note-griffiths69-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> This linking of the art of the two countries, though short-lived, did much to validate etching as an art form. Very soon, French etching would show the same modernist signs that French art showed generally, while English and American etching remained true to the kind of technical proficiency and subject matter artists revered in Rembrandt. One distinct aspect of the revival, in contrast with the Old Master period, was an interest in giving unique qualities to each impression of a print.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p><p>Artists who only or mainly made prints, and usually drawings, were few. Meryon, who was colourblind and so effectively prevented from painting,<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> is probably the most significant. Haden, who was strictly speaking an amateur, is another. Most artists continued to work in paint, but while some are now mainly remembered for their prints (<a href="/wiki/F%C3%A9lix_Bracquemond" title="Félix Bracquemond">Félix Bracquemond</a>, Bone and Cameron for example), others achieved fame in the more prestigious medium of paint, and it tends to be forgotten that they were printmakers at all. <a href="/wiki/Degas" class="mw-redirect" title="Degas">Degas</a>, <a href="/wiki/Manet" class="mw-redirect" title="Manet">Manet</a> and <a href="/wiki/Picasso" class="mw-redirect" title="Picasso">Picasso</a> are examples of this; Whistler perhaps remains known for both.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Clevelandart_1941.72.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Clevelandart_1941.72.jpg/220px-Clevelandart_1941.72.jpg" decoding="async" width="220" height="298" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Clevelandart_1941.72.jpg/330px-Clevelandart_1941.72.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Clevelandart_1941.72.jpg/440px-Clevelandart_1941.72.jpg 2x" data-file-width="2512" data-file-height="3400" /></a><figcaption><a href="/wiki/Mary_Cassatt" title="Mary Cassatt">Mary Cassatt</a>, <i>The Fitting</i>, 1890, <a href="/wiki/Drypoint" title="Drypoint">drypoint</a> and <a href="/wiki/Aquatint" title="Aquatint">aquatint</a>, inked <i><a href="/wiki/%C3%80_la_poup%C3%A9e" title="À la poupée">à la poupée</a></i> by the artist herself, inspired by Japanese <i><a href="/wiki/Ukiyo-e" title="Ukiyo-e">ukiyo-e</a></i>.</figcaption></figure> <p>Although the theorists of the movement tended to concentrate on monochrome prints in the traditional techniques of etching, drypoint, and some mezzotint, and the term "etching revival" (and so this article) is mainly concerned with works in these, many artists also used other techniques, especially outside Britain. The French, and later the Americans, were very interested in making <a href="/wiki/Lithograph" class="mw-redirect" title="Lithograph">lithographs</a>, and in the long run this emerged as the dominant artistic printmaking technique, especially in the next century after the possibilities for using colour became greatly improved.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> The same artists of the Barbizon school who etched were the main users of the semiphotographic etching-like technique of the <i><a href="/wiki/Clich%C3%A9_verre" title="Cliché verre">cliché verre</a></i>, between the 1850s and 1870s.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p><p>The fashion for <a href="/wiki/Japonisme" title="Japonisme">Japonisme</a> from the 1870s gave a particular spur to the movement towards colour, as brightly coloured Japanese <i><a href="/wiki/Ukiyo-e" title="Ukiyo-e">ukiyo-e</a></i> woodblock prints began to be seen and admired in Europe. The situation was reversed in Japan compared to Europe, with multi-coloured prints but a still strong tradition of monochrome <a href="/wiki/Ink_and_wash_painting" class="mw-redirect" title="Ink and wash painting">ink and wash paintings</a>, few of which were seen in Europe. Many printmakers tried their own methods of achieving similar effects,<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> with <a href="/wiki/Mary_Cassatt" title="Mary Cassatt">Mary Cassatt</a>'s very complicated prints, including <i><a href="/wiki/%C3%80_la_poup%C3%A9e" title="À la poupée">à la poupée</a></i> inking, among the most effective.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> The Japanese printmakers used multiple woodblocks, one for each colour, and there was something of a revival in <a href="/wiki/Woodcut" title="Woodcut">woodcut</a>,<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> which hardly any serious artists had worked in since the 16th century.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p><p>Though the styles and techniques typical of the revival fell out of fashion after about 1930, the interest in artistic printmaking has endured, and significant artists still very often produce prints, generally using the signed <a href="/wiki/Limited_edition" class="mw-redirect" title="Limited edition">limited edition</a> presentation that the revival pioneered. Though lithographs are generally more common, an outstanding set using traditional etching is the <i><a href="/wiki/Vollard_Suite" title="Vollard Suite">Vollard Suite</a></i> of 100 etchings by <a href="/wiki/Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a>, "undoubtedly the greatest etcher of [the 20th] century", produced from 1930 to 1937 and named after <a href="/wiki/Ambroise_Vollard" title="Ambroise Vollard">Ambroise Vollard</a> (1866-1939), the art dealer who commissioned them.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Later_artists">Later artists</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Etching_revival&action=edit&section=2" title="Edit section: Later artists"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Pelham_Bay_MET_DP818539.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Pelham_Bay_MET_DP818539.jpg/220px-Pelham_Bay_MET_DP818539.jpg" decoding="async" width="220" height="171" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Pelham_Bay_MET_DP818539.jpg/330px-Pelham_Bay_MET_DP818539.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Pelham_Bay_MET_DP818539.jpg/440px-Pelham_Bay_MET_DP818539.jpg 2x" data-file-width="3314" data-file-height="2569" /></a><figcaption><a href="/wiki/Henry_Farrer" title="Henry Farrer">Henry Farrer</a>, <i>Pelham Bay</i>, c. 1875</figcaption></figure> <p>In France the 1890s saw another wave of productivity in printmaking, with a great diversity of techniques, subjects, and styles. The album-periodical <i><a href="/wiki/L%27Estampe_originale" title="L'Estampe originale">L'Estampe originale</a></i> (not to be confused with the similar <i><a href="/wiki/L%27Estampe_Moderne" title="L'Estampe Moderne">L'Estampe Moderne</a></i> of 1897–1899, which was all lithographs, leaning more to <a href="/wiki/Art_Nouveau" title="Art Nouveau">Art Nouveau</a>) produced nine issues quarterly between 1893 and 1895, containing a total of 95 original prints by a very distinguished group of 74 artists. Of these prints, 60 were lithographs, 26 in the various intaglio techniques (with a third of these using colour), 7 woodcuts, a <a href="/wiki/Wood_engraving" title="Wood engraving">wood engraving</a> and a <a href="/w/index.php?title=Gypsograph&action=edit&redlink=1" class="new" title="Gypsograph (page does not exist)">gypsograph</a>.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p><p>The subjects have a notably large number of figures compared to earlier decades, and the artists include Whistler, <a href="/wiki/Toulouse-Lautrec" class="mw-redirect" title="Toulouse-Lautrec">Toulouse-Lautrec</a>, <a href="/wiki/Paul_Gauguin" title="Paul Gauguin">Gauguin</a>, <a href="/wiki/Renoir" class="mw-redirect" title="Renoir">Renoir</a>, <a href="/wiki/Pissarro" class="mw-redirect" title="Pissarro">Pissarro</a>, <a href="/wiki/Paul_Signac" title="Paul Signac">Paul Signac</a>, <a href="/wiki/Odilon_Redon" title="Odilon Redon">Odilon Redon</a>, <a href="/wiki/Rodin" class="mw-redirect" title="Rodin">Rodin</a>, <a href="/wiki/Henri_Fantin-Latour" title="Henri Fantin-Latour">Henri Fantin-Latour</a>, <a href="/wiki/F%C3%A9licien_Rops" title="Félicien Rops">Félicien Rops</a> and <a href="/wiki/Puvis_de_Chavannes" class="mw-redirect" title="Puvis de Chavannes">Puvis de Chavannes</a>. Almost all of <a href="/wiki/Les_Nabis" class="mw-redirect" title="Les Nabis">Les Nabis</a> contributed: <a href="/wiki/Pierre_Bonnard" title="Pierre Bonnard">Pierre Bonnard</a>, <a href="/wiki/Maurice_Denis" title="Maurice Denis">Maurice Denis</a>, <a href="/wiki/Paul_Ranson" title="Paul Ranson">Paul Ranson</a>, <a href="/wiki/%C3%89douard_Vuillard" title="Édouard Vuillard">Édouard Vuillard</a>, <a href="/wiki/Ker-Xavier_Roussel" title="Ker-Xavier Roussel">Ker-Xavier Roussel</a>, <a href="/wiki/F%C3%A9lix_Vallotton" title="Félix Vallotton">Félix Vallotton</a>, and <a href="/wiki/Paul_S%C3%A9rusier" title="Paul Sérusier">Paul Sérusier</a>. British artists included <a href="/wiki/William_Nicholson_(artist)" title="William Nicholson (artist)">William Nicholson</a>, <a href="/wiki/Charles_Ricketts" title="Charles Ricketts">Charles Ricketts</a>, <a href="/wiki/Walter_Crane" title="Walter Crane">Walter Crane</a> and <a href="/wiki/William_Rothenstein" title="William Rothenstein">William Rothenstein</a>, and besides Whistler <a href="/wiki/Joseph_Pennell" title="Joseph Pennell">Joseph Pennell</a> was American.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p><p>In Britain a later generation included three artists working very largely in etching who were knighted. These were the "high priests" of the English movement: <a href="/wiki/Muirhead_Bone" title="Muirhead Bone">Muirhead Bone</a>, <a href="/wiki/David_Young_Cameron" title="David Young Cameron">David Young Cameron</a> (these two both born and trained in <a href="/wiki/Glasgow" title="Glasgow">Glasgow</a>), and <a href="/wiki/Frank_Short" title="Frank Short">Frank Short</a>. Like others, they "treated a narrow range of subjects with a dour earnestness", according to <a href="/wiki/Antony_Griffiths" title="Antony Griffiths">Antony Griffiths</a>.<sup id="cite_ref-griffiths69_14-2" class="reference"><a href="#cite_note-griffiths69-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Myra_Kathleen_Hughes" title="Myra Kathleen Hughes">Myra Kathleen Hughes</a><sup id="cite_ref-NGI_29-0" class="reference"><a href="#cite_note-NGI-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/William_Strang" title="William Strang">William Strang</a> were other leading figures. Many artists turned to illustrating books, usually with lithographs. In America, <a href="/wiki/Stephen_Parrish" title="Stephen Parrish">Stephen Parrish</a>, <a href="/wiki/Otto_Bacher" class="mw-redirect" title="Otto Bacher">Otto Bacher</a>, <a href="/wiki/Henry_Farrer" title="Henry Farrer">Henry Farrer</a>, and <a href="/wiki/Robert_Swain_Gifford" title="Robert Swain Gifford">Robert Swain Gifford</a> might be considered the important figures at the turn of the century, though they were mostly less exclusively dedicated to printmaking than the English artists. The <a href="/wiki/New_York_Etching_Club" title="New York Etching Club">New York Etching Club</a> was the main professional etching organization. </p><p>The final generation of the revival are too numerous to name here but they might include such names as <a href="/wiki/William_Walcot" title="William Walcot">William Walcot</a>, <a href="/wiki/Frederick_Griggs" class="mw-redirect" title="Frederick Griggs">Frederick Griggs</a>, <a href="/wiki/Malcolm_Osborne" title="Malcolm Osborne">Malcolm Osborne</a>, <a href="/wiki/James_McBey" title="James McBey">James McBey</a>, <a href="/wiki/Ian_Strang" title="Ian Strang">Ian Strang</a> (son of William), and <a href="/wiki/Edmund_Blampied" title="Edmund Blampied">Edmund Blampied</a> in Britain, <a href="/wiki/John_French_Sloan" class="mw-redirect" title="John French Sloan">John Sloan</a>, <a href="/wiki/Martin_Lewis_(artist)" title="Martin Lewis (artist)">Martin Lewis</a>, <a href="/wiki/Joseph_Pennell" title="Joseph Pennell">Joseph Pennell</a> and <a href="/wiki/John_Taylor_Arms" title="John Taylor Arms">John Taylor Arms</a> in the United States. Griggs' pupil <a href="/wiki/Joseph_Webb" title="Joseph Webb">Joseph Webb</a> only began etching in the last years before the collapse of the price bubble, and persisted in etching "Romantic pastoral landscapes" into the late 1940s.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Books,_critics_and_theory"><span id="Books.2C_critics_and_theory"></span>Books, critics and theory</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Etching_revival&action=edit&section=3" title="Edit section: Books, critics and theory"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Francis_Seymour_Haden,_Thames_Fishermen,_1859,_NGA_1077.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/73/Francis_Seymour_Haden%2C_Thames_Fishermen%2C_1859%2C_NGA_1077.jpg/220px-Francis_Seymour_Haden%2C_Thames_Fishermen%2C_1859%2C_NGA_1077.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/73/Francis_Seymour_Haden%2C_Thames_Fishermen%2C_1859%2C_NGA_1077.jpg/330px-Francis_Seymour_Haden%2C_Thames_Fishermen%2C_1859%2C_NGA_1077.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/73/Francis_Seymour_Haden%2C_Thames_Fishermen%2C_1859%2C_NGA_1077.jpg/440px-Francis_Seymour_Haden%2C_Thames_Fishermen%2C_1859%2C_NGA_1077.jpg 2x" data-file-width="4000" data-file-height="2667" /></a><figcaption><a href="/wiki/Francis_Seymour_Haden" title="Francis Seymour Haden">Francis Seymour Haden</a>, <i>Thames Fishermen</i>, drypoint with etching, 1859</figcaption></figure> <p>The revival attracted some hostile criticism. <a href="/wiki/John_Ruskin" title="John Ruskin">John Ruskin</a> (despite having practised it to illustrate some of his books) described etching in 1872 as "an indolent and blundering art", objecting to both the reliance on chemical processes and mostly skilled printers to achieve the final image, and the perceived ease of the artist's role in creating it.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> In France the poet <a href="/wiki/Charles_Baudelaire" title="Charles Baudelaire">Charles Baudelaire</a> was very supportive of Meryon and other specific French professionals, and admired Haden and Whistler. But writing in 1862 he was hostile, for similar reasons to Ruskin, to what he saw as the English phenomenon of an etching craze among amateurs (like Haden) and even ladies, hoping it would never in France "win as great a popularity as it did in London in the heyday of the <a href="/wiki/Etching_Club" class="mw-redirect" title="Etching Club">Etching Club</a>, when even fair "ladies" prided themselves on their ability to run an inexperienced needle over the varnish plate. A typically British craze, a passing mania which would bode ill for us".<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p><p>To counter such criticisms, members of the movement wrote not only to explain the refinements of the technical processes, but to exalt original (rather than merely reproductive) etchings as creative works, with their own disciplines and artistic requirements. Haden's <i>About Etching</i> (1866) was an important early work, promoting a particular view of etching, especially applicable to landscapes, as effectively an extension of drawing, with its possibilities for spontaneity and revealing the creative processes of the artist in a way that became lost in a highly finished and reworked <a href="/wiki/Oil_painting" title="Oil painting">oil painting</a>.<sup id="cite_ref-chambersintro_33-0" class="reference"><a href="#cite_note-chambersintro-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Zaandam2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/70/Zaandam2.jpg/220px-Zaandam2.jpg" decoding="async" width="220" height="128" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/70/Zaandam2.jpg/330px-Zaandam2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/70/Zaandam2.jpg/440px-Zaandam2.jpg 2x" data-file-width="5116" data-file-height="2973" /></a><figcaption><i>Zaandam</i> by <a href="/wiki/James_McNeill_Whistler" title="James McNeill Whistler">James McNeill Whistler</a>, c.1889, exemplifying Haden's idea of "learned omission".</figcaption></figure> <p>Oil painting was soon to come up with developments (notably <a href="/wiki/Impressionism" title="Impressionism">Impressionism</a>) to overcome these limitations, but Haden's rhetoric was effective and influential. He advocated a style of "learned omission", according to which the fewer lines there were on a plate, "the greater would be the thought and creativity residing in each line".<sup id="cite_ref-chambersintro_33-1" class="reference"><a href="#cite_note-chambersintro-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> In accordance with this, Haden (like Meryon) disliked the addition of <a href="/wiki/Surface_tone" title="Surface tone">surface tone</a> during printing, and fell out with Whistler over this and similar issues. Haden wrote: "I insist on a rapid execution, which pays little attention to detail", and thought that ideally the plate should be drawn in a single day's work, and bitten in front of the subject, or at least soon enough after seeing it to retain a good visual memory. Haden had devised his own novel technique where the etching was drawn on the plate while it was immersed in a weak acid bath, so that the earliest lines were bitten the deepest; normally the drawing and biting were performed as different stages.<sup id="cite_ref-chambers1_34-0" class="reference"><a href="#cite_note-chambers1-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>In France Haden's ideas reflected a debate that had been underway for some decades over the comparative merits of quickly executed works such as the <a href="/wiki/Oil_sketch" title="Oil sketch">oil sketch</a>, and the much lengthier process of making a finished painting. The critic <a href="/wiki/Philippe_Burty" title="Philippe Burty">Philippe Burty</a>, in general a supporter of both Haden and etching in general, nonetheless criticized his views on the primacy of quickly executing works, pointing to the number of states in Haden's own prints as showing that Haden did not entirely follow his own precepts. In the mid-1860s Haden argued against Ruskin's sometimes violently expressed objections to etching; what Haden saw as etching's strength, the ease of transmitting the thought of the artist, was exactly what Ruskin deplored: "in the etching needle you have an almost irresistible temptation to a wanton speed".<sup id="cite_ref-chambers1_34-1" class="reference"><a href="#cite_note-chambers1-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Philip_Gilbert_Hamerton" title="Philip Gilbert Hamerton">Philip Gilbert Hamerton</a> had become an enthusiastic promoter of etching in Britain. He had trained as a painter, but become a professional <a href="/wiki/Art_critic" title="Art critic">art critic</a> and amateur etcher. His <i>Etching and Etchers</i> (1868) was more an art history than a technical text but it did much to popularize the art and some of its modern practitioners. His ideas had much in common with those of Haden, favouring a spare style where what was omitted was as important as what was included, an important theme of Haden.<sup id="cite_ref-chambers1_34-2" class="reference"><a href="#cite_note-chambers1-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> The book went through many editions till the 20th century. By the 1870s Hamerton was also publishing an influential periodical, titled <i><a href="/wiki/The_Portfolio" title="The Portfolio">The Portfolio</a></i>, that published etchings in editions of 1000 copies. The French <i>A Treatise on Etching</i> by Lalanne was translated by S.R. Koehler and published in the United States in 1880. It played a significant role in the Etching Revival in America. </p> <div class="mw-heading mw-heading2"><h2 id="Boom_and_bust">Boom and bust</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Etching_revival&action=edit&section=4" title="Edit section: Boom and bust"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The etching revival relied on a well-developed <a href="/wiki/Art_trade" class="mw-redirect" title="Art trade">art trade</a>, with galleries, dealers, clubs, and at the top end auction houses. This was in place by 1850 in London, Paris and other major centres, and continued to expand greatly in Europe and America. Prints had the additional and unique option of the magazine "album"; this was even more useful for <a href="/wiki/Lithograph" class="mw-redirect" title="Lithograph">lithographs</a>, which could be reliably printed in larger numbers, but also very useful for the traditional monochrome techniques, once steel-faced plates were in use. This art trade fed both the traditional collectors market of the well-off, who kept most of their prints in portfolios, but also a larger and rapidly expanding middle-class market, who mainly wanted a certain number of images to frame and display in their homes, and now wanted original works rather than, or as well as, reproductive ones (the reproductive print meanwhile enjoying a huge boom by expanding its market to lower middle-class and working-class groups).<sup id="cite_ref-chambersintro_33-2" class="reference"><a href="#cite_note-chambersintro-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p><p>By the early 20th century, and especially in the decade after the end of the First World War, a very strong body of well-off collectors led to a huge boom in prices for contemporary prints by the most highly regarded artists, sometimes called the "super-etchers",<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> which very often exceeded those for good impressions of prints by Rembrandt and Dürer, let alone other Old Masters. The boom was somewhat cynically exploited by many artists, who produced prints in a rather excessive number of states, often described as "proof states", so encouraging collectors to buy multiple copies. Muirhead Bone is believed to hold the record, with 28 states for one print.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Surface_tone" title="Surface tone">Surface tone</a> also individualized impressions. </p><p>More usefully, the enduring habit of numbering and signing prints as <a href="/wiki/Limited_edition" class="mw-redirect" title="Limited edition">limited editions</a> began at this period.<sup id="cite_ref-griffiths69_14-3" class="reference"><a href="#cite_note-griffiths69-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> This does certify authenticity and reflect the limited number of top quality impressions that can be taken from an intaglio plate before it begins to show wear. Today it is used for marketing reasons even for prints such as <a href="/wiki/Lithograph" class="mw-redirect" title="Lithograph">lithographs</a>, where such a limit barely applies. Whistler began charging twice as much for signed impressions as for unsigned ones; this was for a series in 1887, in fact of lithographs.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p><p>After rising to its highest in the 1920s, the market for collecting recent etchings collapsed in the <a href="/wiki/Great_Depression" title="Great Depression">Great Depression</a> after the <a href="/wiki/1929_Wall_Street_crash" class="mw-redirect" title="1929 Wall Street crash">1929 Wall Street crash</a>, which after a period of "wild financial speculation" in prices, "made everything unsaleable".<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> The prints curator at the <a href="/wiki/British_Museum" title="British Museum">British Museum</a>, <a href="/wiki/Campbell_Dodgson" title="Campbell Dodgson">Campbell Dodgson</a>, collected contemporary prints which he later gave to the museum. He began collecting and writing about Muirhead Bone's prints when Bone first exhibited in London in 1902, paying one or two guineas at Bone's dealer. By 1918 he was paying far higher prices, up to £51 and £63. He continued to buy Bones up to the 1940s, by which time the prices were back to 1902 levels. However a record price of £250 was paid for <i>Ayr Prison</i> (1905) "Bone's masterpiece" (according to Dodgson) "as late as 1933", bought by <a href="/wiki/Oskar_Reinhart" title="Oskar Reinhart">Oskar Reinhart</a> in Switzerland.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p><p>Without a large group of collectors many artists returned to painting, though in the US from 1935 the <a href="/wiki/Federal_Art_Project" title="Federal Art Project">Federal Art Project</a>, part of the <a href="/wiki/New_Deal" title="New Deal">New Deal</a>, put some money into printmaking. Etchings fell hugely in value until the 1980s when a new market (albeit a small one) began to develop for what is now seen as a small but important tributary of the stream of 19th- and 20th-century art. </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Paul_Gauguin_-_Manao_Tupapau_(The_Spirit_of_the_Dead_Watching)_-_MFA_54.1607.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/Paul_Gauguin_-_Manao_Tupapau_%28The_Spirit_of_the_Dead_Watching%29_-_MFA_54.1607.jpg/220px-Paul_Gauguin_-_Manao_Tupapau_%28The_Spirit_of_the_Dead_Watching%29_-_MFA_54.1607.jpg" decoding="async" width="220" height="93" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/Paul_Gauguin_-_Manao_Tupapau_%28The_Spirit_of_the_Dead_Watching%29_-_MFA_54.1607.jpg/330px-Paul_Gauguin_-_Manao_Tupapau_%28The_Spirit_of_the_Dead_Watching%29_-_MFA_54.1607.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/02/Paul_Gauguin_-_Manao_Tupapau_%28The_Spirit_of_the_Dead_Watching%29_-_MFA_54.1607.jpg/440px-Paul_Gauguin_-_Manao_Tupapau_%28The_Spirit_of_the_Dead_Watching%29_-_MFA_54.1607.jpg 2x" data-file-width="1600" data-file-height="676" /></a><figcaption><a href="/wiki/Paul_Gauguin" title="Paul Gauguin">Paul Gauguin</a>, <i>Manao Tupapau</i> ("The Spirit of the Dead Watching"), 1894–95, <a href="/wiki/Woodcut" title="Woodcut">woodcut</a> with hand and <a href="/wiki/Stencil" title="Stencil">stencilled</a> colour</figcaption></figure> <p>As well as the Great Depression, the monochrome tradition of Haden and Whistler had reached something of a dead end, "largely resistant" to "the need to find recognisably modern subject-matter and forms of expression".<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> A review in 1926 by <a href="/wiki/Edward_Hopper" title="Edward Hopper">Edward Hopper</a> of <i>Fine Prints of the Year, 1925</i> expressed this with some brutality: "We have had a long and weary familiarity with these 'true etchers' who spend their industrious lives weaving pleasing lines around old doorways, Venetian palaces, Gothic cathedrals, and English bridges on the copper ... One wanders through this desert of manual dexterity without much hope ... Of patient labour and skill there is in this book a plenty and more. Of technical experiment or strongly personal vision and contact with modern life, there is little or none".<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> Etching, of urban subjects similar to his later paintings, had been important in establishing Hopper's early reputation, but around 1924 he decided to concentrate on painting instead.<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Status_of_artists">Status of artists</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Etching_revival&action=edit&section=5" title="Edit section: Status of artists"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Printmaking had traditionally had a much lower status in the art world, especially the notoriously conservative academies, than the "major" media of painting and sculpture. This had long been a bone of contention between the <a href="/wiki/Royal_Academy" class="mw-redirect" title="Royal Academy">Royal Academy</a> in London and the reproductive printmakers, who in 1853 finally won the ability to be elected to the inferior membership status of "Academician Engraver", and some space in the Academy's important exhibitions. At the start of the revival the majority of artists concerned were also painters, and not especially concerned by this disparity, but over the last decades of the 19th century this changed, as artists whose main efforts went into printmaking became more common.<sup id="cite_ref-chambersintro_33-3" class="reference"><a href="#cite_note-chambersintro-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p><p>In England Haden was the main activist on this front, beginning in 1879 in a series of lectures on etching at the <a href="/wiki/Royal_Institution" title="Royal Institution">Royal Institution</a>, and continuing over the following years with a flow of letters, articles and lectures. His role as co-founder and first President of the Society of Painter-Etchers, now the <a href="/wiki/Royal_Society_of_Painter-Printmakers" title="Royal Society of Painter-Printmakers">Royal Society of Painter-Printmakers</a>, was part of these efforts, also providing a new set of exhibitions. Although several artists such as Frank Short and William Strang (both elected full RA in 1906) were better known for their prints than their paintings, and helped to agitate for change from within the Academy, the distinction between "Academician Engravers" and full "Academicians" was not abolished until 1928.<sup id="cite_ref-chambersintro_33-4" class="reference"><a href="#cite_note-chambersintro-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Etching_revival&action=edit&section=6" title="Edit section: Notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Carey, 222-223</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Griffiths, 35; Gascoigne, 10d</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Chambers, "Introduction"; Salsbury</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://www.metmuseum.org/about-the-met/curatorial-departments/drawings-and-prints/materials-and-techniques/printmaking/etching">Metropolitan Museum of Art</a>, "Etching", technical explanation with video clips</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Griffiths, 65-68; Collins, 256; Chambers, Introduction, argues against this, the conventional view</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Griffiths, 66-69; Chambers, Introduction</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Griffiths, 68; Salsbury; Chambers, Introduction; Collins, 256-257</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Collins, 258, covered in detail 114-222</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Griffiths, 154-155</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Mayor, 125; Griffiths, 71, 76, 154-155</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Griffiths, 154</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Chambers, Chapter 1; Salsbury; <a href="/wiki/Martin_Kemp" title="Martin Kemp">Martin Kemp</a>, (ed.), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=95J-ppmZmt8C&pg=PA359"><i>The Oxford History of Western Art</i></a>, Oxford University Press (2000), p. 359, <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-860012-7" title="Special:BookSources/0-19-860012-7">0-19-860012-7</a>.</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Collins, 257 and throughout; van Breda, Jacobus. "Charles Meryon: Paper and Ink," <i>Art in Print</i>, Vol. 3 No. 3 (September-October 2013).</span> </li> <li id="cite_note-griffiths69-14"><span class="mw-cite-backlink">^ <a href="#cite_ref-griffiths69_14-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-griffiths69_14-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-griffiths69_14-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-griffiths69_14-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text">Griffiths, 69</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Carey, 218, 248; Griffiths, 21, 106, 117</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Carey, 218, 230</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Woodbury, Sara. "Giving a Good Impression: B.J.O. Nordfeldt's Inscribed Etchings," <i>Art in Print</i>, Vol. 7 No. 2 (July-August 2017).</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Collins, 104-105</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Salsbury</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">Griffiths, 106-107, 120</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Schaaf, Larry J., <a rel="nofollow" class="external text" href="https://talbot.bodleian.ox.ac.uk/2015/12/11/a-photographic-imitation-of-etching-cliche-verre/">"A Photographic imitation of etching’ – Cliché-verre"</a>; Schenck, Kimberly, "Cliché-verre: Drawing and Photography", 112-114, in <i>Topics in Photographic Preservation</i>, Volume 6, pp.112–118, 1995, American Institute for Conservation of Historic & Artistic Works, <a rel="nofollow" class="external text" href="http://resources.culturalheritage.org/pmgtopics/1995-volume-six/06_09_Schenck.pdf">online</a></span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">Ives, throughout, 11-17 especially</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Ives, 45-53; Griffiths, 119</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Ives, 17-18; Griffiths, 117</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">Griffiths, 20-22</span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">Griffiths, 70-71 (70 quoted); <a rel="nofollow" class="external text" href="http://nga.gov.au/exhibitions/picasso/index.html">The <i>Vollard Suite</i> at the National Gallery of Australia</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120514070634/http://nga.gov.au/exhibitions/picasso/index.html">Archived</a> 2012-05-14 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">Stein, 6-9; <a rel="nofollow" class="external text" href="https://www.vangoghmuseum.nl/en/prints/person/40641/l-estampe-originale"><i>L’Estampe originale</i></a>, <a href="/wiki/Van_Gogh_Museum" title="Van Gogh Museum">Van Gogh Museum</a>, Amsterdam, web feature with full set of images</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Stein, 20-40 has a catalogue in alphabetic order</span> </li> <li id="cite_note-NGI-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-NGI_29-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://onlinecollection.nationalgallery.ie/people/6282/myra-kathleen-hughes/objects#info">"Objects – Myra Kathleen Hughes"</a>. <i>National Gallery of Ireland</i><span class="reference-accessdate">. Retrieved <span class="nowrap">27 September</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=National+Gallery+of+Ireland&rft.atitle=Objects+%E2%80%93+Myra+Kathleen+Hughes&rft_id=http%3A%2F%2Fonlinecollection.nationalgallery.ie%2Fpeople%2F6282%2Fmyra-kathleen-hughes%2Fobjects%23info&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEtching+revival" class="Z3988"></span></span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">Meyrick, Robert, <i>Joseph Webb: the lights that flit across my brain</i>, pp. 25-30, 2007, Aberystwyth University: School of Art Museum and Gallery, <a rel="nofollow" class="external text" href="https://www.astro.umd.edu/~jph/the_lights_that_flit.pdf">PDF</a></span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Chambers, start of Introduction (quoted), Chapter 1</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text">Chambers, Introduction (quoted), Chapter 1</span> </li> <li id="cite_note-chambersintro-33"><span class="mw-cite-backlink">^ <a href="#cite_ref-chambersintro_33-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-chambersintro_33-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-chambersintro_33-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-chambersintro_33-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-chambersintro_33-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text">Chambers, Introduction</span> </li> <li id="cite_note-chambers1-34"><span class="mw-cite-backlink">^ <a href="#cite_ref-chambers1_34-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-chambers1_34-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-chambers1_34-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Chambers, Chapter 1</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">Carey, 216</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">Carey, 234, describing a Bone with a mere 19 states</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Mayor, 703</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">Griffiths, 69 (quoted); Mayor, 747</span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">Carey, 216-217</span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Carey, 222</span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text">Quoted, Carey, 222-223</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Carey, 234</span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Etching_revival&action=edit&section=7" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Carey, Frances, "Campbell Dodgson (1867-1948)", in Antony Griffiths (ed), <i>Landmarks in Print Collecting – Connoisseurs and Donors at the British Museum since 1753</i>, 1996, British Museum Press, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0714126098" title="Special:BookSources/0714126098">0714126098</a></li> <li>Chambers, Emma, <i>An Indolent and Blundering Art?: The Etching Revival and the Redefinition of Etching in England</i>, 2018 (first published 1999), Routledge, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0429852827" title="Special:BookSources/0429852827">0429852827</a>, 9780429852824, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=IqybDwAAQBAJ">google books</a></li> <li>Collins, Roger, <i>Charles Meryon: A Life</i>, 1999, Garton & Company, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0906030358" title="Special:BookSources/0906030358">0906030358</a>, 9780906030356</li> <li><a href="/wiki/Bamber_Gascoigne" title="Bamber Gascoigne">Gascoigne, Bamber</a>. <i>How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet</i>, 1986 (2nd Edition, 2004), Thames & Hudson, with sections not page-numbers <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/050023454X" title="Special:BookSources/050023454X">050023454X</a></li> <li><a href="/wiki/Antony_Griffiths" title="Antony Griffiths">Griffiths, Anthony</a>, <i>Prints and Printmaking</i>, British Museum Press (in UK), 2nd edn, 1996 <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/071412608X" title="Special:BookSources/071412608X">071412608X</a></li> <li>Ives, Colta Feller, <i>The Great Wave: The Influence of Japanese Woodcuts on French Prints</i>, 1974, The Metropolitan Museum of Art, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87099-098-5" title="Special:BookSources/0-87099-098-5">0-87099-098-5</a></li> <li><a href="/wiki/A._Hyatt_Mayor" title="A. Hyatt Mayor">Mayor, Hyatt A.</a>, <i>Prints and People</i>, Metropolitan Museum of Art/Princeton, 1971, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0691003262" title="Special:BookSources/0691003262">0691003262</a></li> <li>Salsbury, Britany. “The Etching Revival in Nineteenth-Century France.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2014, <a rel="nofollow" class="external text" href="https://www.metmuseum.org/toah/hd/etre/hd_etre.htm">online</a></li> <li>Stein, Donna M., Karshan, Donald H., <i>L'Estampe originale; A Catalogue Raisonné</i>, 1970, The Museum of Graphic Art, New York</li></ul> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Etching_revival&action=edit&section=8" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Elizabeth Helsinger et al., <i>The ‘Writing’ of Modern Life: The Etching Revival in France, Britain, and the U.S., 1850-1940</i>, Chicago, 2008.</li> <li>Twohig, Edward (2018). <i>Print Rebels: Haden - Palmer - Whistler and the origins of the RE (Royal Society of Painter-Printmakers)</i>. London: Royal Society of Painter-Printmakers. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-5272-1775-1" title="Special:BookSources/978-1-5272-1775-1">978-1-5272-1775-1</a>.</li> <li>Lang, Gladys Engel; Lang, Kurt (2001). <i>Etched in memory: the building and survival of artistic reputation</i>, 2001, University of Illinois Press, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0252070283" title="Special:BookSources/0252070283">0252070283</a>. OCLC 614940938</li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Etching_revival&action=edit&section=9" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></span></span></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Etching_Revival" class="extiw" title="commons:Category:Etching Revival">Etching Revival</a></span>.</div></div> </div> <ul><li>Salsbury, Britany, and Conte, Lisa, <a rel="nofollow" class="external text" href="https://www.metmuseum.org/blogs/now-at-the-met/2015/lestampe-originale">"L'Estampe Originale: A Rare Print Portfolio Now Online"</a>, Metropolitan Museum of Art blog, 6 March, 2015</li> <li><a rel="nofollow" class="external text" href="http://gildedage2.omeka.net/exhibits/show/highlights/movements/etching">Documenting the Gilded Age: New York City Exhibitions at the turn of the 20th century</a> A <a href="/wiki/New_York_Art_Resources_Consortium" title="New York Art Resources Consortium">New York Art Resources Consortium</a> project. Exhibition catalogs from the Etching Revival.</li></ul>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Etching_revival&oldid=1214111007">https://en.wikipedia.org/w/index.php?title=Etching_revival&oldid=1214111007</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Etching" title="Category:Etching">Etching</a></li><li><a href="/wiki/Category:Printmaking" title="Category:Printmaking">Printmaking</a></li><li><a href="/wiki/Category:Modern_art" title="Category:Modern art">Modern art</a></li><li><a href="/wiki/Category:Art_movements" title="Category:Art movements">Art movements</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Webarchive_template_wayback_links" title="Category:Webarchive template wayback links">Webarchive template wayback links</a></li><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short description</a></li><li><a href="/wiki/Category:Short_description_is_different_from_Wikidata" title="Category:Short description is different from Wikidata">Short description is different from Wikidata</a></li><li><a href="/wiki/Category:Commons_category_link_from_Wikidata" title="Category:Commons category link from Wikidata">Commons category link from Wikidata</a></li></ul></div></div> </div> </main> </div> <div class="mw-footer-container"> <footer id="footer" class="mw-footer" > <ul id="footer-info"> <li id="footer-info-lastmod"> This page was last edited on 17 March 2024, at 00:50<span class="anonymous-show"> (UTC)</span>.</li> <li id="footer-info-copyright">Text is available under the <a href="/wiki/Wikipedia:Text_of_the_Creative_Commons_Attribution-ShareAlike_4.0_International_License" title="Wikipedia:Text of the Creative Commons Attribution-ShareAlike 4.0 International License">Creative Commons Attribution-ShareAlike 4.0 License</a>; additional terms may apply. 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