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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.
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).
"Maur's Farm", 1913, "etching on medium, slightly textured, cream wove paper" Griggs was one of the finest and most respected etchers of his time. He was an influential leader of the British etching revival in the Twenties and Thirties, and "the most important etcher who followed in the Samuel Palmer tradition" (K. M. Guichard, British Etchers ...
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 ...
See Art periods for a chronological list.. This is a list of art movements in alphabetical order. These terms, helpful for curricula or anthologies, evolved over time to group artists who are often loosely related.
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 ...
The New York Etching Club, formally New York Etchers Club, [1] was one of the earliest professional organization in America devoted to the medium of etching. [2] [3] Its founders were inspired by the Etching revival that had blossomed in France and England in the middle of the 19th century. [4]
Surveying the etching revival, the authors explore reasons as to why women artists found it more difficult than men to build their reputations, and why these were often less enduring than those of their male contemporaries. If Constance Pott was deterred by the Victorian disapproval of self-promotion, then (despite her pioneering achievements ...