The Shepherd and the Shepherdess, 1874. Although etching had fallen into disfavor in France, Daubigny began to produce original etchings in the 1840s. The revival of this technique began to accelerate, and in 1862 the Société des Aquafortistes (Society of Etchers) was organized by Alfred Cadart, who was instrumental in publishing many albums of prints. In addition, periodicals such as LArtiste (The Artist) included original etchings, which also helped to generate interest in the medium. The countryside around Barbizon (a village about 30 miles southeast of Paris) provided a refuge
The Shepherd and the Shepherdess, 1874. Although etching had fallen into disfavor in France, Daubigny began to produce original etchings in the 1840s. The revival of this technique began to accelerate, and in 1862 the Société des Aquafortistes (Society of Etchers) was organized by Alfred Cadart, who was instrumental in publishing many albums of prints. In addition, periodicals such as LArtiste (The Artist) included original etchings, which also helped to generate interest in the medium. The countryside around Barbizon (a village about 30 miles southeast of Paris) provided a refuge from the urbanization and industrialization of modern life and offered landscape etchers a vast array of scenery—from wild forest to rocky gorges. Daubigny, who wanted to retain the immediacy of the direct observation of nature, used a flat-bottomed boat as a floating studio on the rivers of France in order to capture the momentary effects of light and atmosphere.
Size: 3759px × 4747px
Photo credit: © Heritage Art/Heritage Images / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: 1817-1878, 19th, art, century, charles, cleveland, daubigny, etching, france, françois, french, heritage, museum, print
