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The etching revival was the re-emergence and invigoration of etching as an original form of printmaking during the period approximately from 1850 to 1930. The main centres were France, Britain and the United States, but other countries, such as the Netherlands, also participated.
Stephen Parrish (1846 – 1938) was an American painter and etcher who became one of the 19th century's most celebrated printmakers during the "American Etching Revival." [1] [2] Privately trained by painter and animal etcher Peter Moran, Parrish was best known for his landscape etching of "Eastern North America, particularly the harbors and villages of New England and Canada," and as the ...
The group promoted etching through traveling exhibitions around the country and hosting annual exhibitions at the Art Institute of Chicago until the Society's demise in 1972. [ 4 ] [ 5 ] 1912 – Pedro Joseph de Lemos established the California Society of Etchers (now the California Society of Printmakers).
Edith Loring Getchell (1855 – 1940) was an American landscape painter and etcher, highly regarded for the "exquisite" tonalism of her etchings, drypoints and watercolors." [2] Working during the "American Etching Revival," a period that lent legitimacy to an art form that had once been scorned as commercial, Getchell made use of the opportunities the vogue for etching gave her, despite a ...
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Mezzotint is a monochrome printmaking process of the intaglio family. It was the first printing process that yielded half-tones without using line- or dot-based techniques like hatching, cross-hatching or stipple.
McBey was born in Newburgh, Aberdeenshire, Scotland, educated at his village school, and at the age of 15 years became a clerk in a local bank.After reading an article on etching in an art magazine, he borrowed from Aberdeen public library Maxime Lalanne’s treatise on etching Traité de la Gravure a l’Eau-Forte, attended evening classes at Gray's School of Art, [3] and taught himself how ...
The first meeting of the New York Etchers Club took place in the studio of James David Smillie on May 2, 1877. [1] An etching by Robert Swain Gifford was printed on a small press under the supervision of Dr. Leroy Milton Yale Jr. [5] Eventually, bi-monthly meetings moved to the studio of Henry Farrer where etchings were printed from a press that Farrer built.