Marx explained the basic idea behind the selection in the foreword to the first album. Marty, he wrote, was more interested in the individual qualities and expression of the artist than in particular schools, styles, or techniques.
The artist’s original intentions would remain clear provided he worked according to the criteria of the original print.
Because the individual qualities of the artist were Marty’s only criterion, all modern styles and movements from the fin de siècle were represented in the album.
Roger Marx, ‘Préface’, L’Estampe originale. Première année, Parijs 1893
Donna M. Stein, Donald H. Karshan, L’Estampe originale. A catalogue raisonné, New York 1970
Phillip Dennis Cate, Patricia Eckert Boyer, L’Estampe originale. Artistic Printmaking in France 1893-1895, Zwolle 1991