THE ENGRAVER'S TASK—INARTISTIC WORK—CONSTRUCTIVE ELEMENTS—OUTLINE—EXTRANEOUS MATTER—COMPOSITION—LIGHT AND SHADE—EXPRESSION—PERSPECTIVE—EXECUTION

"The highest art is undoubtedly that which is simplest and most perfect, which gives the experience of a lifetime by a few lines and touches."

The Engraver's Task.—Engraving, by whatever process it may be accomplished, is not by any means a secondary art. Even when it descends to mere copying, which its commercial associations unfortunately encourage, it requires for its effective execution exceptional skill, unremitting patience, and a more than average degree of artistic feeling. It is almost impossible to appreciate the true value of the engraver's work without some consideration of the labour it entails. Each one of the multitudinous lines of an engraving is cut with a definite purpose and deliberate care, and may be operated upon again and again to increase the depth or width in various places. Even the dots of a stipple are not made in that aimless fashion which their appearance might at first suggest. A mechanical effect is sedulously avoided, consequently each dot must be cut with scrupulous care, and may require two or three touches with the graver to produce the desired effect. The proportionate reduction of pictures for engraving also demands exquisite skill and accurate draughtsmanship in which the eye and hand of the artist may be distinctly traced.

Thus, by a laborious yet picturesque and harmonious interpretation of the artist's creations, the engraver renders their reproduction possible, widens the sphere of their interest and influence, and in many instances procures for them a world-wide reputation.

Such an art may be both erudite and comprehensive in its information, for it is executed with a purposeful patience which omits nothing, forgets nothing, and maintains a convincing directness of expression.

Outline, light and shade, variety of style and representation of surfaces, are all within the engraver's control, and a vast diversity of expression will be requisite for their realisation. It is quite within his power also to interpret the artist's thoughts as well as imitate his style, and this involves not only a judicious balancing of tone and texture, but a knowledge of the principles of art embodied in the picture—his copy.

Inartistic Work.—Owing to an insatiable craving for pictorial illustration, there is an ever-growing tendency on the part of the artist engraver to seek after sensational or entertaining effects which are not artistic productions. Intensely interesting and attractive they may be, and yet signally deficient in the true elements of fine art. It is quite possible to make any art popular, however crude its conception and manifestation may be, so long as its expression is sufficiently striking or pleasing. Such products of the graver or brush may be elaborate compositions and effective forms of pictorial expression, inasmuch as they provide interesting information concerning past or current events. They may even possess a certain value as historical records, and yet not manifest that subtle power of suggestive beauty and intensity of thought which are primÁ facie evidences of masterly genius and artistic power. When the energy and skill of the artist are thus devoted to expressive delineation in place of artistic completeness, he becomes satisfied with an inferior degree of excellence, provided only that it pleases; and the result will almost assuredly be an incomplete, if not vitiated, production.

In these days of invention and advancement, when the resources of mankind are almost limitless, conditions of life favourable, and opportunities for the acquirement of knowledge and skill always abounding, there can surely be no valid excuse for this dead level mediocrity in the engraver's art,—a result which might possibly arise from the insiduous fever of display, of notoriety, and of commercialism which is ever seeking fresh victims in this as in every other phase of human life and effort.

Constructive Elements.—An engraving may be an imitative or representative interpretation of a picture or drawing in black and white. In such an interpretation, whatever its character may be, integrity of form is of paramount importance, and essential to the attainment of any degree of excellence in engraving. It imparts to the work a distinctive character, and endows it with that delicacy and precision of execution for which engraving is so justly famous.

Outline.—In the early engravings the constructive element consisted almost entirely of pure outline, which was rarely monotonous, but frequently suggestive of form and character. Is it not almost marvellous, this suggestive power of outline, for is it not in reality but an imaginary boundary? An actual outline is a thing unknown in nature, and the very fact that it has its existence only in the imagination of the artist makes our reconciliation to it and our admiration of it the more wonderful. The astonishing elasticity of the human imagination makes it quite easy to fill in the details of a picture if only the outline be sufficiently suggestive. The primary function of the outline is, of course, to represent; but its secondary or suggestive purpose is scarcely of less importance, and can only be fully realised when the imagination is so stimulated as to perceive more than is actually exhibited. The completeness and truthfulness of the outline must be an engraver's first point. An art critic once stated that "He had finished the picture who had finished the outline." To some extent such a statement may be perfectly true; but just as in elocution, or even in ordinary conversation, emphasis is requisite, so in pictorial art the emphasis of concise expression, modulation, and delicate or vigorous accentuation are equally necessary and effective.

Extraneous Matter.—In other words, an artist's ideas may be decisively portrayed in outline, yet for lack of suitable extraneous matter appear both crude and impoverished. The amount of characteristic form expressed by constructive elements in the drawing, other than the outlines, is strikingly illustrated in old German portrait engravings. They are simply overflowing with details of the most minute description. Nor can such details be regarded as altogether superfluous, for they each help to build up the character of the picture. In portrait engraving a mere likeness may easily be portrayed by a simple outline. Not so, however, with character. Considerable amplification will be necessary to show that; and this, perhaps, is the most difficult task of the engraver—to introduce a satisfactory amount of essential detail without detracting in any way from a pleasing general effect in the picture.

Composition.—In its broadest sense composition in graphic art refers to the putting together or combination of the various details into a pleasing and effective picture. It may comprise—(1) the choice of a subject; (2) the most effective moment of its representation; (3) the choice of such circumstantial matter as will best intensify the interest of the picture, and enhance its artistic value. Nor is one part much less important than another, for interest in the subject must necessarily be influenced by effective grouping, and the choice of harmonious surrounding for both. It is in this that the finesse of the artist becomes available, and, by clever contrasts and agreeable combinations, enables him to emphasise the expressive power of his pictorial art.

Light and Shade.—The importance of light and shade in the composition of a picture is a fact too well established to require much further recognition here. If skilfully arranged and distributed it may in some measure compensate for any lack of cohesion in the design, and thus become a redeeming feature in what would otherwise prove to be an ineffective composition.

It is chiefly by a dexterous arrangement of light and shade that the artist engraver can produce a faithful and intelligible translation of his subject. It adds considerably to the force and vigour of pictures, and produces effects which please the eye and successfully appeal to the imagination.

There are, of course, other qualities and conditions which materially affect the engraver and his work, and these will now be briefly indicated.

Expression.—"Expression is the representation of an object agreeably to its nature and character, and the use or office it is intended to have in the work." It is, in fact, the very essence of a picture. Without it there can be no character, no emotion, and therefore no faithful delineation.

Perspective.—Linear perspective in engraving represents the position or magnitude of the lines or contour of objects portrayed, and suggests their diminution in proportion to their distance from the eye.

AËrial perspective, on the other hand, represents the diminution of colour value of each object as it recedes from the eye. It is, in reality, a degradation of tone, suggesting the relative distances of objects. Either may be the direct product of light and shade as well as of accurate drawing.

Execution.—The execution of an engraving admits of almost any degree of variety—the display of individual skill, and knowledge of technique. Execution, as the term implies, is the direct result of individual dexterity; the ability to interpret colour, tone, and texture of a picture by an arrangement of lines of varying depth and fineness; the ability also to imitate, or even create, pictorial expression.

The work of the engraver, like many other phases of reproductive art, is a fruitful source of mannerisms; yet even these will produce excellent results if they create innovations which will be afterwards approved and recognised as healthy, independent, and entirely original methods.