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After my last post about the resourceful Philip Gilbert Hamerton, who took his carefully-prepared etching plates with him on a canoeing trip, I thought I should follow up with the the wonderfully-named Willibald Wolf Rudinoff, a circus performer and nightclub singer who carted his self--designed etching press with him across the world. Rudinoff (sometimes listed as Willi, Willy, or Wilhelm Rudinoff and also under the surname Morgenstern, or Morgenstern-Rudinoff) was born in Angerm�nde, Germany on 4 August 1866. Rudinoff came from an Eastern European Jewish family (either Polish or Russian, the sources differ, but from somewhere in the Pale of Settlement); his father was a cantor, who was fleeing persecution. Rudinoff's education was spread across Russia, Germany, and France, and as an adult he cultivated a "citizen of the world" mentality. Willibald Wolf Rudinoff also worked as Willy Morgenstern. Apparently his passport was in the name Morgenstern, and this seems to have

Philip Gilbert Hamerton was born in the hamlet of Laneside near Oldham, Lancashire, in 1834. Initially intending to be a painter, he turned to art criticism. His works include Etching and Etchers, Contemporary French Painters, and Painting in France after the Decline of Classicism. In 1870 Hamerton founded the magazine The Portfolio, which he edited until his death in 1894. While he is still remembered as the encourager and promoter of other etchers, the fact that Philip Gilbert Hamerton was himself an etcher of real accomplishment has been almost forgotten. The 37 etchings of scenes on the river Arroux that he selected for his book The Unknown River in 1871 have the particular Impressionistic charm of etchings made in the open air, during the course of a canoeing holiday. Hamerton meticulously prepared 60 etching plates for this trip, fixing them to drawing boards which were then placed in a series of grooved boxes that were then sent ahead to inns along the river, so that Hamerton

In the early years of the twentieth century, many German artists were busy constructing the vocabulary of Expressionism. But some remained faithful to the Symbolist/Art Nouveau aesthetic of the end of the previous century, known as Jugendstil. I think the etching in this post, published in 1906 by the Leipzig art revue Zeitschrift f�r Bildende Kunst, is one of the masterpieces of late Jugendstil. It's one of the most perfect summations of Jugendstil I have seen - intricate, brooding, romantic, with a magical transformation between human and natural forms. Please click on the image to get a larger version with more detail. C. G�tz D�hler, Sehnsucht (Longing) Etching with aquatint, 1906 What is perhaps most surprising about this work is that the artist who created it, G�tz Dohler, remains almost completely unknown. I have managed to discover a first initial, C., and a year of birth, 1867, and that's it. He's not listed in B�n�zit, Dictionnaire des Peintres, Sculpteurs, Dessin

Karl Hofer, N�chtliche �berfahrt (Night journey) Etching with aquatint, 1899 When I first saw this haunting etching with aquatint, I wasn't sure who the artist was. Paul Klee? Marc Chagall? Both seemed likely possibilities. But in fact it's a very early work, predating both Klee and Chagall, by the German Expressionist Karl Hofer. Born in 1878 in Karlsruhe, Karl Christian Ludwig Hofer (sometimes listed as Carl Hofer) studied at the Karlsruhe Academy of Fine Art from 1896-1900; this stiking etching was made while he was still a student. Karl Hofer, T�nzerin Lithograph, 1921 Although a prominent member of the Expressionist movement, Karl Hofer was never associated with one particular group. In common with most Expressionists, Karl Hofer's art was condemned as degenerate by the Nazis; one hundred and fifty of his canvases were destroyed in his studio. After the war, Karl Hofer was appointed Director of the Hochschule f�r Bildende Kunst in Berlin. He died in Berlin in 1955. The

Gianni Monnet seems to have fallen through the cracks of art history, which is sad in all sorts of ways. Of all the artists of MAC, the Movimento Arte Concreta, which lasted from 1948 to 1958, Gianni Monnet seems to have been the joker in the pack. His original works contributed to Documenti d'arte d'oggi, the movement's four-volume journal, are almost uncategorisable, so intent was Monnet on sticking on various bits of material, ranging from furry purple felt to sandpaper to corrugated card. I've already posted here about an instance in which a lithograph had holes hand-punched through it, a piece of scrumpled newspaper collaged to it, and sandpaper and corrugated card fixed to the facing page in order to make visible impressions on the surface of the litho. Surface and the rupturing of the surface; texture and the effects of texture on the untextured surface; these seem to have been his obsessions. Gianni Monnet Untitled lithograph, 1955 Gianni Monnet Untitled lithogr

Enrico Bordoni was born in Altare in 1904. Enrico Bordoni (1904-1969) A professor at the Accademia Brera in Milan, Enrico Bordoni was a member of the abstract art group MAC, Movimento Arte Concreta, which flourished from 1948-1958. Enrico Bordoni Untitled lithograph, 1949 Enrico Bordoni Untitled lithograph, 1949 Enrico Bordoni Untitled lithograph, 1951 Enrico Bordoni Untitled woodcut, 1955 Bordoni was one of the most prolific contributors to MAC's publication Documenti d'arte d'oggi. His original silkscreens, woodcuts and lithographs show a powerful and highly-alert sense of rhythm, and their gestural authority and boldly vibrant use of colour link this non-figurative Italian "concrete art" movement with the contemporary Abstract Expressionism of the USA. Enrico Bordoni Untitled lithograph, c. 1950 Enrico Bordoni Untitled lithograph, c. 1950 Enrico Bordoni Untitled lithograph, 1949 Enrico Bordoni Untitled lithograph, c. 1950 Enrico Bordoni Untitled lithograph, c.

Lucio Fontana was born in Argentina in 1899. Now renowned as the founder of the Spazialismo movement (Spatialism), he was a member of Abstraction-Cr�ation in the 1930s, and in the 1950s he was also closely involved in the Italian abstract movement MAC, the Movimento Arte Concreta. Lucio Fontana, Untitled lithograph, 1955 Lucio Fontana, Untitled lithograph, 1955 The two Fontana lithographs above both date from 1955, and are printed on very thin paper, the first on green, the second on orange. They have both been randomly punctured with many small holes, in accordance with Fontana's practice at this period, and his ongoing concern with disrupting the picture plane. His paintings of this date, which are also punctured with holes rather than slashed with cuts (for which he is perhaps more famous), were called Buchi, Holes. Lucio Fontana Untitled lithograph, 1958 Apparently Fontana came to find MAC's theoretical rejection of figuration an arid dead-end, leading too many of its artis