The Etched Work of Whistler by Edward G. Kennedy, and: Georges Rouault: The Graphic Work by Alan Wofsy (review)

Books 77 ingly than the book’s supposedly expositional prose. At other times Sandler introduces really valuable distinctions among more dilated propositions. as when he skilfullydistinguishes the too-often obliterated recognition of the difference between Action-painting as a style rooted in the history of taste with a long past of development and as a singular existential event The happiest passagesin the book are Sandler’ssummationsof the critical implications and stresses that have emerged in recent writings on art in the U.S.A.-this was a strength in his previous works as well. Then it must be noted that, although Sandler reigns as the pre-eminent historian of the period he discusses, a tone of utterly inexplicable insecurity laces the text; time and again he quotes his earlier writing-not to particularly good advantage-seemingly to write himself into art history among the artists’ achievements. The same documentary interest could have been served as well by footnotes locating the first appearance of his opinions in print. Finally, this book takes its place beside his earlier one to establisha framework for a history of recent art; some historians will operate within that framework, others will revise or attempt to replace it entirely, but at least it is now in place, a channel to approach one of the most compelling passages of contemporary intellectual and art history in the U.S.A. (P. 48). The Etched Work of Whistler. Edward G. Kennedy. Alan Wofsy Fine Arts, San Francisco, 1978. 356 pp., illus. $75.00 Georges Rouault:The GraphicWork. Alan Wofsy. Alan Wofsy Fine Arts, San Francisco, 1976. 104 pp., illus. $50.00. Reviewed by SCan O’Driscoll* James Abbott McNeill Whistler was born in Massachusetts, U.S.A.. in 1834and died in London in 1903;he received drawing instruction at the age of 10 when his parents took him to St. Petersburg. His experiencein graphic techniques began in 1854as acartographer with the U.S. Coast and Geodetic Survey;here, as late as the 1940s. many student in the U.S.A. (including this reviewer) were trained in both lithography and copper-plate engraving when graphics were mostly neglected in art schools. Georges Rouault was born during a bombardment of his city quarter at the time of the Paris Commune of 1871 and died in 1958 at the age of 87. More than most 20th-century artists, one associates Rouault with the extremes of human emotion and actions. He portrayed absolutes-outcasts and saints-but molded the extremes into one. Prostitutes become Christian saints and lonely buffoons become the Saviour. These two books are both about renowned painters who were also master print-makers. and both established landmarks in the series production of original graphics. The procedure of signing proofs began with Whistler and his brother-in-law, Francis Seymour Haden; this practice still prevails today (Fig. 1). Rouault’s first lithographs, produced by the dealer-publisher Edmond Frapier. introduced a very good procedure for positive identification of the state of each individual print (Fig. 2). As states are often confusing and in later years can defy interpretation , a system of lithograph stamp symbols, along these lines. would be well worth general adoption. On most procedures of print production. however, these two masters were at loggerheads. Rouault’s prints had very wide margins. and the printed areas sometimes exceeded 60cm in height. Whistler, on the contrary. because of his violent opposition to the custom of the Remarque, insisted that prints should have no margin and trimmed his impressions to the plate-mark, sometimes leaving a small rectangular bit of paper for his now well known ‘butterfly’signature (Fig. 1). Although Rembrandt set the precedent for trimming prints to the plate-mark, a wide margin that protects the print and facilitates handling and mounting is the accepted practice today. Whistler also considered the ‘hugeplate’an offense; probably because his finelines were best adapted to his pocket-sized plates, which he found handy to carry about; he worked on location, often outdoors, whenever the opportunity arose. On the other hand, Rouault’s *Irish International Arts Centre, Castle Matrix, Rathkeale. Co. Limerick. Ireland. 1 kf B 2 Fig. I . Specimens of the ‘burterfy’signature of...