Scene in a country lane
Etching
10 Feb 1792 (published)
10 Feb 1792 (published)
| Artist/Maker | |
| Place of origin |
Joseph Farington (1747–1821) was known for his landscapes in wash and graphite and in this print Joseph Stadler (1780–1822) attempted to reproduce the same qualities. Comparing this print to the artist’s drawings shows the effectiveness of soft-ground etching and aquatint. Two plates were used to print the colours, and there is some additional hand colouring visible in the clouds.
Aquatint tone imitates the effects of watercolour and wash and in this print is most effective in the blue trees and clouds. To reproduce Farington’s graphite lines, Stadler used soft-ground etching –a line was drawn onto the prepared plate through an intermediary material such as tracing paper, which when pulled away, brought up some of the etching ground. When the plate was then etched and printed, the result was a broken line similar to pencil.
Aquatint tone imitates the effects of watercolour and wash and in this print is most effective in the blue trees and clouds. To reproduce Farington’s graphite lines, Stadler used soft-ground etching –a line was drawn onto the prepared plate through an intermediary material such as tracing paper, which when pulled away, brought up some of the etching ground. When the plate was then etched and printed, the result was a broken line similar to pencil.
Object details
| Categories | |
| Object type | |
| Title | Scene in a country lane (assigned by artist) |
| Materials and techniques | Soft ground etching and aquatint printed in two colours. |
| Brief description | Soft-ground etching and aquatint, printed in two colours from separate plates, with added hand-colouring, proof before title. Joseph Stadler from a drawing by Joseph Farington. Scene in a country lane, 1789, published in London by John and Josiah Boydell, 10 Feb 1792. |
| Physical description | Soft ground etching and aquatint printed in two colours. |
| Dimensions |
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| Credit line | Given by George H. Clarke |
| Summary | Joseph Farington (1747–1821) was known for his landscapes in wash and graphite and in this print Joseph Stadler (1780–1822) attempted to reproduce the same qualities. Comparing this print to the artist’s drawings shows the effectiveness of soft-ground etching and aquatint. Two plates were used to print the colours, and there is some additional hand colouring visible in the clouds. Aquatint tone imitates the effects of watercolour and wash and in this print is most effective in the blue trees and clouds. To reproduce Farington’s graphite lines, Stadler used soft-ground etching –a line was drawn onto the prepared plate through an intermediary material such as tracing paper, which when pulled away, brought up some of the etching ground. When the plate was then etched and printed, the result was a broken line similar to pencil. |
| Bibliographic reference | Victoria and Albert Museum, Department of Engraving, Illustration and Design & Department of Paintings, Accessions 1939, published under the Authority of the Ministry of Education, London, 1950 |
| Collection | |
| Accession number | E.266-1939 |
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| Record created | June 30, 2009 |
| Record URL |
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