File:Richard Seewald - Landscape.jpg

Identifier: internationalstu75newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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wildest ol the Ex-who make it their chief if not their only means of pressionists. Certainly the thing hailed as the newexpression. In France (as in Italy and England) art of wood engraving ten to twentj yearsthe finest contemporary books are those in which the sort of posteresque, half-naturalistic, hall-printer and wood engraver are designing hand in conventionalized designs which really wenhand, while in Germany there is just now a be- in that they revived a long losl technique ol :<wildering new crop of block-illustrated books and graphic and direct cutting ol the block, but whichportfolios of prints from the wood. In both arc now seen to have belonged to the Impression-countries, too, the windows and walls of art shops ist rather than to the Post-Impressionisi p—thousands of them—are gay with the spirited has been forced to give place to sometlwork of the younger engravers. Through all something more emotional, something marked by JUNE I Q 2 2 liro forly-n mi mceRHAcionAL
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a headlong search for formrather than by truth to natureand respect for the hard, cold line. In Francethe voice of the older engravers still persists, butgrows feebler year by year, while in Germany, ifthe voice is there at all, it is completely drownedout in the noise raised by and around theExpressionist movement. By way of historical background, it is well toremember that wood engraving once before en-joyed a place among the important creative arts,so that the greatest contemporary artists used itas a means of expression; but that it then fell intoa period of decline and neglect which finally led to LANDSCAPEBY RICHARD SEEWALD had creative ability, the inventivepart of the business being left tothe artist whose work was being reproduced.Instead of cutting the wood directly and in white-line, he laboriously carved around the black lineslaid down by some other hand, often coming to amarvelous imitation of the draughtsmans care-fully drawn line or involved hatching, but addingnothing

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