Etching, originally invented in the early 16th century as a means of ornamenting armor by carving into metal, soon emerged as a method of printmaking as well. German artist Albrecht Dürer (1471-1528) was one of the first to gain attention as a printmaker with his etchings and woodblock prints of religious scenes. Etching developed as an effective means to reproduce paintings and drawings by noted artists. Dutch artist Rembrandt Harmenszoon van Rijn (1606-1669) started using etching in a much more innovative manner. His experimentation with tone and use of line as a free, expressive and conceptual element fostered a highly artistic approach to etching. With Rembrandt’s death in 1669, artistic etching was eclipsed by the use of the medium for reproduction.

In the middle decades of the 19th century, members of the Barbizon School, which included Charles Emile Jacque, Jean-Francois Millet and Charles Daubigny, rediscovered etching and revered 17th-century Dutch masters of the medium. The Barbizon School artists, united in their love of the French countryside, shared an interest in printmaking with a growing number of others, including Charles Meryon and Maxime Francois-Antoine Lalanne. Members of Paris Bohemian circles, including James McNeill Whistler and Alphonse Legros, began to experiment with etching in the 1850s. Inspired by Rembrandt, these artists emulated many of the Dutch master’s methods and techniques including his use of Japanese paper, various inks, and his combination of drypoint and etching on a single plate.

The Etching Revivalists created their own style by combining what they learned from Rembrandt with their own contemporary subjects. Shying away from learned compositions and classical and religious subject matter, these Etching Revivalists cultivated a naturalistic approach based on direct observation. Influenced by French Realist Gustave Courbet, they sought to depict humble scenes of everyday life, portraits of ordinary people and rural landscapes. They also cultivated “plein-air” painting, which meant working outdoors and directly from nature. Etching Revival artists did not focus only on the countryside, but also turned to the city as it underwent a major transformation under the direction of architect Baron Haussmann, hired by Emperor Napoleon III to redesign the city in 1855.

The new interest in etching was confined to a limited circle of artists. French publishers and printers played critical roles in creating a broader public appreciation for this art form. French printer Auguste Delatre (1822-1907) who produced Whistler’s French Set was responsible for printing works by Etching Revivalist artists ranging from Legros to Daubigny to Meryon. Delatre’s total output amounted to over 90,000 proofs. Publishers such as Alfred Cadart (1828-1875) also helped spread the word through art books and magazines such as the Gazette des Beaux-Arts and Cadart’s own monthly publication, Eaux-fortes modernes, started in 1862. Etching Revivalists including Millet and Legros, whose work got published with the help of Cadart, also convinced the editor to organize the first etching association in France, the Societe des Aquafortistes, in 1862.

- Kate McDonald