Anders Zorn, 101 Etchings

125 Pages·2018·108.14 MB·English

by  Anders Zorn

ANDERS ZORN
101
ETCHINGS
Foreword by James Gurney
Introduction by Ernest M. Lang
DOVER PUBLICATIONS, INC.
Mineola, New York
Copyright
Foreword copyright © 2018 by James Gurney Copyright © 2018 by Dover Publications, Inc.
All rights reserved.
Bibliographical Note
This Dover edition, first published in 2018, is an unabridged republication of the illustrations as
published by Verlag Ernst Arnold, Dresden, Germany, in 1922. The introduction by Ernest M. Lang has
been taken from The Etchings of Anders Zorn, first published by Empire State Book Co., New York, in
1923. A new Foreword, written by James Gurney, has been specially prepared for the present edition.
Please note that some of the language in the original text contains cultural references characteristic of the
era in which the etchings were created, and have been retained here for the sake of authenticity.
Library of Congress Cataloging-in-Publication Data
Names: Zorn, Anders, 1860–1920, artist. | Gurney, James, 1958– writer of foreword. | Lang, Ernest, 1899–
1989, writer of introduction.
Title: Anders Zorn, 101 etchings / foreword by James Gurney ; introduction by Ernest M. Lang.
Other titles: Etchings of Anders Zorn.
Description: Mineola, New York : Dover Publications, Inc., 2018. | “This Dover edition, first published in
2018, is an unabridged republication of the illustrations published by Verlag Ernst Arnold, Dresden,
Germany, in 1922. The introduction by Ernest M. Lang has been taken from the edition published by
Empire State Book Co., New York, in 1923.”
Identifiers: LCCN 2018013142| ISBN 9780486828640 | ISBN 0486828646
Subjects: LCSH: Zorn, Anders, 1860–1920—Themes, motives.
Classification: LCC NE2061.5.Z67 A4 2018 | DDC 709.2—dc23
LC record available at https://lccn.loc.gov/2018013142
Manufactured in the United States by LSC Communications 82864601 2018
www.doverpublications.com
Contents
List of Plates
Foreword: Encountering Zorn’s Etchings
Introduction
Plates
L P
IST OF LATES
Plate No. Title Date
Frontispiece Self-Portrait 1916
Introduction Untitled n.d.
1 On the Thames 1883
2 Mary 1883
3 Antonin Proust 1889
4 Rosita Mauri 1889
5 Un Première 1889
6 Zorn and His Wife 1890
7 MmeGeorges May 1891
8 JBFaure 1891
9 Valse 1891
10 Prince Eugen of Sweden 1891
11 Morning 1891
12 Lady with a Cigarette 1891
13 The Storm 1891
14 Awakening 1891
15 MmeSimon 1891
16 In an Omnibus 1891
17 Ernest Renan 1892
18 Olga Bratt 1892
19 Count von Rosen 1893
20 Reading (Mrand MrsDeering) 1893
21 The Toast 1893
22 Henry Marquand 1893
23 Isabella Gardner 1894
24 Irish Girl 1894
25 My Model and My Boat 1894
26 The Guitar 1895
27 Mrand MrsFurstenberg 1895
28 Gerda Hagborg 1896
1896
1896
29 MrsPotter Palmer
30 Evening 1896
31 Effet de Nuit 1897
32 MrsNagel 1897
33 The Sculptor Saint-Gaudens and His Model 1897
34 Augustus Saint-Gaudens 1897
35 Old Ballad 1898
36 King Oskar II of Sweden 1898
37 Maud Cassell 1898
38 Grover Cleveland 1899
39 MrsCleveland 1899
40 Zorn and His Model 1899
41 Maya 1900
42 Madonna 1900
43 Princess Ingeborg of Sweden 1900
44 MrsRuneberg 1900
45 The Guitar Player 1900
46 Colonel Lamont 1900
47 Senator “Billy” Mason 1900
48 At the Piano 1900
49 Negress—Sitting 1901
50 Negress—Standing 1901
51 MrsThompson Seton 1901
52 The Storehouse 1903
53 The New Song 1903
54 Anna 1903
55 MrsGranberg 1903
56 Before the Stove 1903
57 A Dark Corner 1903
58 Olandine 1904
59 Traveling Companion 1904
60 Emma Rasmussen 1904
61 Self-Portrait 1904
62 Betty Nansen 1905
63 The Bridesmaid 1906
64 Ida 1906
1906
65 Anna Arranging Her Hair 1906
66 The First Pose 1906
67 Mrand MrsAtherton Curtis 1906
68 August Rodin 1906
69 Anatole France 1906
70 A Ring 1906
71 Summer 1907
72 Cercles d’Eau 1907
73 Edö 1907
74 The Master-smith 1907
75 Bosl Anders, The Clockmaker 1907
76 Prince Paul Troubetzkoy 1908
77 Aurore (head) 1909
78 The New Maid 1909
79 Aurore 1909
80 Precipice 1909
81 August Strindberg 1910
82 Two Bathers 1910
83 Wet 1911
84 The Beadle 1911
85 A Skerri Girl 1912
86 Vallkulla 1912
87 The Ford 1912
88 Dagmar 1912
89 The Letter 1913
90 The Outmost Skerries 1913
91 Shallow 1913
92 Three Sisters 1913
93 Elin 1914
94 Early 1914
95 Crown Princess Margaret of Sweden 1914
96 Dalarö 1915
97 On Hemsö Island 1917
98 Sappho 1917
99 Vicke 1918
James Gurney inspecting original Zorn prints at The Clark Art Institute in Massachusetts
Foreword: Encountering Zorn’s Etchings
by James Gurney
I discovered the alchemical art of etching when I was in high school. My father,
an engineer at a research lab in Palo Alto, came home from work one day with a
big jar of nitric acid and said I could experiment with it. I dropped a penny in the
jar and watched the coin disappear in a stream of bubbles.
The experiments soon led to etching. Etching is a form of printmaking in
which a copper plate is coated with a waxy resist material called a ground. You
can scratch through the ground to expose bare metal lines on the plate.
Immersing the plate in acid will cut grooves of varying depth in the exposed
metal, depending on how long the plate remains in the acid. The printmaker then
rubs ink into all the grooves and gently removes the ink from the smooth parts of
the plate with a rag. When a piece of dampened paper is laid over the inked plate
and cranked through a press under pressure, the ink transfers from the grooves to
the paper. The line work on the resulting print superficially resembles a pen-and-
ink drawing, but with an added atmospheric quality that is unique to the
medium. By heating the inked plate and dragging a piece of cloth over the
surface, the artist can coax some ink out of the grooves, yielding richer shading.
I made a few etchings, but I had no idea what the medium was capable of
until the late 1970s, when I happened upon an exhibition at the UC Berkeley Art
Museum. These were etchings by an artist I had never heard of, Anders Zorn.
Since then I have sought out several opportunities to see Zorn’s original etchings
in the prints and drawings rooms of museums. I am honored to be asked to
reintroduce this landmark collection of Zorn’s finest etchings.
Today, Zorn is better known as a painter in oil and watercolor. Using those
media, he created portraits and landscapes directly from life, as did his
contemporaries John Singer Sargent and Joaquín Sorolla. Unlike those artists,
Zorn earned a reputation in the realm of etching as well. During his lifetime, he
was, by several accounts, better known for his prints than for his paintings.
A native of Sweden, Zorn learned the technique from Axel Herman Haig
while visiting England. He didn’t pay much attention to the English tradition, not
even to James Abbott McNeill Whistler, who was famous for his etchings.
Zorn’s strongest influence was Rembrandt van Rijn, whose work he studied
during visits to Stockholm and Amsterdam. He bought a Rembrandt oil portrait
and did an etching based on it, which he then used as a New Year’s greeting
card. As Zorn grew wealthier, he collected etchings by Rembrandt. There were
over two hundred in his estate when he died.