The Fascination of Details
The works of the Kleinmeister are captivating not only because of their colorfulness and the subjects they depict, but also because of the wealth of detail. If you look at them up close, it becomes clear how cleverly the minor masters worked to achieve different effects.
Johann Hürlimann after Gabriel Mathias Lory, Vue d'une partie du Lac de Thoune, 1822, colored aquatint.
Reflections in Water I
First, however, as an introduction, a "normal" print: In the steel etching Thun, with the Bernese Alp from William Beattie's book Switzerland, the reflection of the city silhouette in the Aare is created by parallel lines.
Robert Wallis after William Henry Bartlett, Thun, with the Bernese Alps, 1834, steel etching.
Reflections in Water II
In a similar way, Johann Jakob Biedermann depicted the reflection in Lake Zurich in the Vûe de Lachen with countless dots and strokes.
Johann Jakob Biedermann after Heinrich Rieter, Vûe de Lachen, sur le lac de Zurich, around 1795, colored outline etching.
Reflections in Water III
In contrast, the reflection in the Vue de l'Isle de Schwanau by Gabriel Ludwig Lory appears perfectly calm.
Gabriel Ludwig Lory after Karl Ludwig Zehender, Vue de l'Isle de Schwanau, sur le Lac de Lowerz, from: Recueil de paysages suisses dessinés d'après nature, 1797/98, colored outline etching.
Reflections in Water IV
In comparison with the line technique of etching, the surface technique of the aquatint allowed contourless, i.e. blurred, reflections to be achieved. This can be observed particularly well in the sheet Chemin de Wesen á Ammon by Gabriel Mathias Lory.
Johann Hürlimann after Gabriel Mathias Lory, Chemin de Wesen à Ammon audessus du Lac de Wallenstadt, from: Souvenirs de la Suisse, 1829, colored aquatint.
Waterfalls - Etching and Aquatint I
The depiction of roaring water, foaming waves and rising spray posed a particular artistic challenge for the small masters. The printing techniques of etching and aquatint allowed this challenge to be overcome in different ways. The etching as a linear technique comes close to the impression of a drawing, the aquatint as a surface printing technique to the impression of a painting.
Johann Georg Seiller after Felix Meyer, Prospect contre le château de Pfungen dans la région de Zurich, from: Underschiedliche rare Prospecten von Gebürg und Wasserfälle in dem Schweizerland, around 1720, etching.
Franz Hegi after Johann Heinrich Wüest, Schute d'Eau a Weislingen aux Environs de Kybourg Canton de Zurich, around 1795, aquatint in two shades of brown.
Waterfalls - Etching and Aquatint II
The various effects created by the etching and aquatint in combination with the coloration can be examined particularly well in an etching by Gabriel Ludwig Lory and an aquatint by his son Gabriel Mathias.
Gabriel Ludwig Lory, Chute du Giessbach au Bord du Lac de Brientz, from Recueil de paysages suisses dessinés d'après nature, 1797/98, colored outline etching.
Gabriel Mathias Lory, La Cascade du Giessbach, from Voyage pittoresque de l'Oberland bernois, 1822, colored aquatint.
2 x the Same ?
In contrast to drawings and paintings, which are unique, there can be many copies of a print. However, if you look at them in detail, exciting differences often come to light.
Johann Hürlimann after Gabriel Mathias Lory, Vue du Port de Fluelen dans le Canton d'Uri, from: Souvenirs de la Suisse, 1829, colored aquatint.
2x the Same ?
This view of Flüelen was published by Gabriel Mathias Lory before Hans Felix Leuthold from Zurich took over the plate and republished it around 1850.
Johann Hürlimann after Gabriel Mathias Lory, Vue du Port de Fluelen dans le Canton d'Uri. from: Vues Suisses dessinées par G. Lory, et gravées, around 1850, colored aquatint.
Same Plate - Different Print Image
It is not possible to print an unlimited number of prints from a copper plate. The sheet on the left is an early print, the one on the right a late print. The lines that are printed in black on the left section are sometimes barely visible on the right section - discover further differences by comparing the images!
Balthasar Anton Dunker, Vuë d'Avenches, around 1790, colored outline etching.
Balthasar Anton Dunker, Vuë d'Avenches, around 1796, colored outline etching.
Different States or Different Plates?
Sometimes it is not easy to tell whether the prints are from the same plate or from different plates, as the differences are so slight. Compare two copies of Johann Ludwig Aberli's view of the village and lake of Brienz and judge for yourself: Is it the same plate in different states or two different plates?
Johann Ludwig Aberli, Vue du Village et du Lac de Brientz, after1780, colored outline etching.
Johann Ludwig Aberli, Vue du Village et du Lac de Brientz, after 1780, outline etching probably colored by Heinrich Rieter.