A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . mands. No etcher has ever known better than Whistler whatcan be achieved by the unfilled space. He was immovably con-vinced in his opinion that only the etcher himself can print his ownplate well, and in his wonderful manipulation of the ink on thesurface and in his careful choice of old paper (for which he made 1 For an entertaining selection of contemporary criticism on the Veniceetchings, see the famous little exhibition catalogue of 1883 {Etc
A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . mands. No etcher has ever known better than Whistler whatcan be achieved by the unfilled space. He was immovably con-vinced in his opinion that only the etcher himself can print his ownplate well, and in his wonderful manipulation of the ink on thesurface and in his careful choice of old paper (for which he made 1 For an entertaining selection of contemporary criticism on the Veniceetchings, see the famous little exhibition catalogue of 1883 {Etchings and : second series: 51 Nos.), which included, beside miscellaneous plates, both theFine Art Societys set and the Twenty-six etchings published by Messrs. Dowdes-well three years later. To understand Whistlers own attitude, much enlightenmentand no little entertainment may be gleaned from the masters occasional writings (suchas the lecture Ten oClock ), which were collected in the volume entitled The GentleArt of making Enemies, in 1890. 326 MODERN ETCHING repeated search in Holland and elsewhere) he produced impressions. Fig. 109.—J. A. McN. Whistler. Turkeys. (Reproduced by permission ofMessrs. Dowdeswell and Dowdeswells.) of a luminosity of tone and a quaUty of surface which areunequalled. SEYMOUR HADEN 327 In dry-points of the middle period like the F^-ices Candle Works(\V, 124) and Battersea: Dawn (W. 125) Whistler has all butrealised his most individual expression, but he does not absolutelycome into his own, if we may so put it, until the etchings of theVenice set and the Twenty-six. Reversing the order of de-velopment as seen in Rembrandt, he recurs in this last phase to thepure etching of his early work, divesting his design of all the detailwhose character was a mere continuation of the achievement ofJacque or Meryon. Plates like the Mairie, Loches (W. 259), Zaandam(W. 268), and those of the Naval Revietv series of 1887 (W. 237-245) are wonder
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Keywords: ., bookcentury1900, bookdecade1900, booksubjecte, booksubjectetching
