Etching in England / With 50 illustrations.

Etching in England

TURNER. “TWICKENHAM.
by Frederick Wedmore With 50 Illustrations
London George Bell and Sons 1895 CHISWICK PRESS:—CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON.
I READ, the other day, in a note of Abraham Haywar to his translation of “Faust,” how Schlegel wrote of Gœthe—to M. de Rémusat,—“Il imait guère à donner des explications, et il jamais voulu faire des préfaces.” It would not be seemly, perhaps, that in the present volume of brief historical and critical record, I should endeavour to imitate so august a silence.
Twenty-seven years have passed since one of the most interesting and judicial of English writers upon Fine Art published the book which did amongst us the service of popularising, in some degree at least, the knowledge of Etching. The craft of the aquafortist has, since then, become a medium of expression generally accepted, if not precisely understood; and the half-educated young woman of our period, far from considering the art of whose achievements I treat, as “a form of elegant pen-drawing,” (as she did in Mr. Hamerto first days), is likely perhaps to hold—with “Carry,” in my own little story—that there is “nothing in the world so artistic as a very large etching.” The public, if it has not become properly instructed in the technique of Etching, has at least had the opportunity of becoming so. Hence I have conceived it to be no part of my business to discourse much upon methods. For them the reader may turn now, not only to Mr. Hamerton, but to Sir Seymour Haden, with his great practical experience, his native endowments, and his finely trained taste; to Mr. Herkomer, with his frank and interesting personal record; to M. Maxime Lalanne; to Mr. Frank Short—but the list is too long for me to attempt to exhaust it.