Beech - Eugene Blairie - lithograph

【Picture 1 is the original picture】 [Figure 2 is a partial enlarged view of the original] [Figure 3 is a portrait of Eugène BLÉRY (1805~1887)] Author: Eugène BLÉRY (1805~1887) Title: [Beech] (Le hêtre), Work number: Le Blanc 92. Attribution: none. Technique: etching (etching/aquafort). Year: (1840). Size: Approx. 11.2 x 16.4 cm (screen). 13.8 x 21.5 cm (including cardboard). Remarks: with double-layer cardboard mounting (without frame) No.: P K-052-2 Introduction of works: Before introducing this etching by Eugène BLÉRY (1805~1887), let’s take a look at the history of etching. The etching technique appeared around the end of the fifteenth century, probably related to the production of armor. In the armor workshop, craftsmen use the method of corrosion to print decorative patterns on iron armor. Around 1500, the German Hopfer (Daniel Hopfer, 1470~1536) produced the first etchings in his workshop in Augsburg. Most of the etching works at this time were based on iron plates. However, because the iron plates quickly developed rust spots, the number of printed sheets was limited. Around 1520, the introduction of the copperplate etching technique changed this situation. Compared with the direct engraving of the copper plate, the etched lines are not clear and precise, but they are better than the straight engraved lines in terms of dynamic processing and lively level performance. In the seventeenth century, the pictorial characteristics of etching ushered in its golden age, and famous artists came out, especially Rembrandt's etchings, whose weight and his paintings were indistinguishable, making this printmaking technique reach its peak. After that, the influence of etching declined, and although there were still some outstanding printmakers, most of them were copying other paintings or making illustrations for books. At the beginning of the nineteenth century, new printmaking techniques appeared, especially lithography, which could not only increase the print volume, but also print colorful pictures, further squeezing the expressive space of etching. However, from the 1840s, a group of French artists of the Barbizon school who loved etching created different landscape etchings, recreating the spirit of the etching masters of the past, and set off an etching revival movement throughout Europe and the United States until the 1930s. During the Great Depression, the original collection market collapsed and it came to an end. Eugene Blairie played a pioneering role in this revival movement, for he, the etching technique from the ashes of history, once again shine. On March 3, 1805, Eugene Brayry was born in Fontainebleau, the son of a professor of mathematics and military fortifications at the local military academy. In 1827, the Countess of Montalivet of Berry invited him to teach her son mathematics in their castle. During these three years, Berry used vacation After visiting the southeastern region of France, he left behind many sketches and lithograph creations. After 1830, he quit all his jobs and concentrated on studying landscapes. In 1836, he discovered the etchings of the local printmaker Jean-Jacques de Boissieu (1736 ~ 1810) in Lyon. This technique has been neglected and few people have heard about it. He found a printmaking teacher, Balthazar Jean Baron (1788~1869), and began to study etching techniques. With the encouragement and patronage of the Countess of Montalivie, he combined his love of landscape painting and etching, and stepped out of his own style, while the artistic fashion at that time still remained in portraits and genre pictures, and his persistence seemed Lonely. In his forty years of etching creation career, he has completed nearly 300 works, most of which are the themes of landscapes and trees and plants. The later Barbizon School and the Impressionists basically respected outdoor sketching and used it to mold their works, but Eugene Braley was still a step ahead of these painters, with a copper plate prepared in advance, directly outdoors Carving the scenery seen can be said to be the forerunner of the sketch artists of that era. In the creation of etching, he also paid attention to all stages, from preparing the layout, to engraving and corrosion, and finally to the final printing. He will not sell unfinished works. For him, it is still a layout that needs to be processed. For works with poor pictures, he will directly destroy the printing plate. Appreciating his prints, you can see the dense lines with rich layers, from deep to shallow, pervading the picture. His observation of nature is reflected in his works, and he discovers many quiet and unknown corners of the forest, as if a forest sage is walking alone, those hidden places are like twinkling Gemstone to him. The three works here can clearly reflect his characteristics. From 1835 onwards, his work was exhibited at the Salon, and continued until the 1870s. He has also won several awards himself. In 1846, his Salon exhibition works were awarded the French Légion d'honneur, and his deep ploughing and etching finally came to fruition. His student Charles Meryon (1821~1868), through the teacher's rigorous handling of the layout, has achieved a position comparable to that of Rembrandt in the art of etching. His representative works are a series of Paris landscape drawings, showing his human originality. However, Eugene Brayley kept a distance from the avant-garde art groups at that time. In the promotion of etching, he only fought alone and did not join the important French etching association, but his unique style was closely related to the forerunners. His role in the history of printmaking still leaves a deep legacy. Today, many important collection units in the world, such as the French National Library, the British Museum, the Metropolitan Museum of Art in New York, etc., have his print collections. *If you have any details, please send a message to contact the designer *The main products of this design hall are Western antiques, old jewelry, and old European original prints. Old products will inevitably have traces of historical years, but they are cleverly placed according to personal taste, and they can promote an extraordinary life. Taste and aesthetic concept. However, if you still mind, please consider carefully before placing an order.