THE ETCHING REVIVAL
France, Britain, America and Zorn
France, Britain, America and Zorn
- Jacque, Rembrandt, Etching
- Jacque, Le Chemin de Halage
- Daubigny, Le Grand Parc
- Lalanne, Richmond
- Meryon, Greniers Indigènes
- Bracquemond, Le Corbeau
- Buhot, Débarquement
- Lepère, La Route de Saint Gilles
- Legros, Le Triomphe de la Mort
- Besnard, La Mère Malade
- Leheutre, Notre-Dame de Chartres
- Legrand, Devant Sa Glace
- Brouet, Coin de Campagne
- Beaufrère, Bords de la Laïta
- Frélaut, Allée de Village
- Forain, L’Avocat Parlant
- Laboureur, Vue du Chateau
- Haden, Mytton Hall
- Whistler, Black Lion Wharf
- Strang, Eel Fishing in a Cave
- Cameron, Ben Lomond
- Bone, Culross Roofs
- McBey, Palestine: Blue Bonnets
- John, Head of Granger
- Blampied, Blessing the Waters
- Lumsden, Cliff and Cactus
- Lee-Hankey, Le Repas
- Osborne, Zierikzee
- Simpson, James Pryde
- Rushbury, On the Waveny
- Detmold, The Cock
- Brockhurst, Phemie (Marguerite)
- Nicolson, Quiet Hour
- Moran, Landscape on the Marne
- Moran, The Rapids Above
- Moran, Scrub Oaks
- Parrish, Winter in Trenton
- Platt, Deventer, Holland
- Mielatz, The Old Bridge
- Pennell, The Shot Tower, London
- Benson, Yellowlegs at Dusk
- Hassam, Madonna of the North
- Sloan, Girls Sliding
- Winkler, North End
- Arms, Stokesay Castle
- MacLaughlan, Bernese Oberland
- Friedlander, Downtown
- Eby, North Country
- Marsh, Coney Island Beach
- Zorn, Pilot – Lots
- Zorn, Portrait of Ernest Renan
The Bernese Oberland
Etching, 1910, 265 x 378 mm., Bruette 162. Very fine impression in blue-grey ink with variably-wiped plate tone on Van Gelder Zonen laid paper, trimmed to or just outside the platemark by the artist and signed in pencil. MacLaughlan, born in Canada and trained in the United States, was among the earliest of the New World etchers to go back to Europe for subject matter (he got there, actually, before 1900). A raft of others followed him, some of whom he taught and guided. MacLaughlan could be an uneven artist, but what emerges from his prints with consistency is a palpable feeling of excitement at being where he is and seeing what he sees. In this he is, perhaps, the opposite number to Arms, for his etching style, tight at the beginning, looser as he goes on, is filled with the flavor of the location. He went to France, Italy, Germany and Switzerland, as well as taking the occasional trip back to the States and etching a scene there. This is one of his larger etchings and one of his best, and perhaps not since Brueghel has such sheer excitement at the sight of the Alps been conveyed in a print.