In his print series, La Femme, Albert Besnard combined etching and drypoint to explore the bleaker aspects of feminine existence.
A gruesome assemblage of social ills, many of the prints feature graphic depictions of a woman plagued by sickness, suicide, prostitution, infanticide and poverty.
In the nineteenth century, French printmakers were very interested in the quality of darkness, depicting it both visually and iconographically.
Vampires, skeletons, ghosts, and other demons lurked in the shadowy corners of the fin-de-siècle imagination.
Symbolist artists often incorporated drypoint to represent such creatures in their quirky prints.
Louis Godefroy, Albert Besnard, Parijs 1969
Peter Parshall e.a., The Darker Side of Light: Arts of Privacy: 1850-1900, Washington 2009
Ad Stijnman, Engraving and Etching 1400-2000: A History of the Development of Manual Intaglio Printmaking Processes, Houten 2012