Drawing with an etching needle in the soft ground layer laid on top of the copper plate is very similar to drawing with pen on paper, enabling the artist to work quickly and freely.
For that reason, the champion of etching, Phillipe Burty, called the tecnnique ‘a drawing with multiple copies.’
The spontaneous character of the etching was seized on in the second half of the nineteenth century by critics, writers and publishers to promote the etching as the most artistic and expressive printmaking technique.
Prints like this, it was said, brought the viewer closest to the personal ‘signature’ and intimate thoughts of the artist.
The fact that etching resembled drawing so closely made it a relatively accessible medium for artists.
There were also artists, however, who immersed themselves wholeheartedly in the technical possibilities of etching and took control of the entire process from design to printing.
Gabriel P. Weisberg, The Etching Renaissance in France: 1850-1880, tent.cat., Salt Lake City 1971
Alison Mc Queen, The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France, Amsterdam 2004
Ad Stijnman, Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes, Houten 2012
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