Theodore Roussel. Laburnums and Battersea. 1889–1890. England. Etching and drypoint in black, with selective wiping of plate tone, on ivory laid paper For his early prints, Roussel adapted Whistler’s methods to express his own interest in documenting the local scene, and Laburnums and Battersea is a striking example of the older artist’s influence. As in Nocturne Palaces, Roussel developed his plate through multiple states, used a variety of ink colors, and employed selective wiping to suggest differing effects of light, water, and mist. He also chose an upright format and a larger scale than

Theodore Roussel. Laburnums and Battersea. 1889–1890. England. Etching and drypoint in black, with selective wiping of plate tone, on ivory laid paper For his early prints, Roussel adapted Whistler’s methods to express his own interest in documenting the local scene, and Laburnums and Battersea is a striking example of the older artist’s influence. As in Nocturne Palaces, Roussel developed his plate through multiple states, used a variety of ink colors, and employed selective wiping to suggest differing effects of light, water, and mist. He also chose an upright format and a larger scale than his other prints depicting Chelsea and the Battersea factories on the opposite bank of the Thames River. In these etchings, both artists convey a clear sense of place. However, the atmosphere portrayed with printer’s ink in Whistler’s Venetian canal scene enhances the moody, Gothic character of the city, infusing his print with romanticism, while the variations in impressions of Roussel’s London view complement his straightforward, modern interest in the industrial topography of the riverside.

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