BERLIN.- This fall, the Berlin Kupferstichkabinett opens its doors to an extraordinary exhibition titled The Other Impressionism: International Printmaking from Manet to Whistler. Running from September 25, 2024, to January 12, 2025, this special collection shines a spotlight on a lesser-known facet of the Impressionist movement: printmaking.
Impressionism is a beloved art movement, characterized by shimmering light, vivid landscapes, and dynamic urban scenes. While many are familiar with the style in paintings, the Kupferstichkabinett aims to illuminate a different side of the movement by focusing on printmaking, an art form that captured unique atmospheric phenomena in ways painting could not.
A Different Take on Impressionism
The exhibition is not simply about showcasing beautiful prints; it seeks to reveal the innovative techniques artists employed to depict light, shadow, and atmospheric effects through etchings and lithographs. From sunlight reflecting on water to foggy cityscapes, the exhibition offers a fresh perspective on how artists explored and experimented with these natural phenomena.
Celebrating the 150th anniversary of Impressionism, The Other Impressionism features over 112 works from 40 artists across six countries, including renowned figures like Édouard Manet, Camille Corot, Mary Cassatt, Berthe Morisot, and James Abbott McNeill Whistler. These artists were not only pioneers of their era but also pushed the boundaries of traditional printmaking.
The Role of Printmaking in Impressionism
While painting is often seen as the hallmark of Impressionism, printmaking was equally vital in capturing the essence of fleeting moments. Printmaking, particularly etching, allowed artists to explore the effects of light and weather on urban landscapes in ways that paintings couldn't always achieve. The technique’s black-and-white limitations encouraged artists to focus on form, texture, and the play of light and dark, resulting in highly evocative and imaginative works.
As early as the 1850s, artists like Camille Corot ventured into the Fontainebleau forest to capture the natural world in new and innovative ways. Using a technique called cliché verre, which combined elements of both printmaking and photography, these artists etched their impressions onto glass plates and used the sun itself to expose the image. This fusion of traditional art and new technology is a prime example of the avant-garde spirit that characterized the Impressionist movement.
Rarely Seen Masterpieces
The exhibition includes a variety of techniques beyond cliché verre, such as lithography and aquatint, which allowed artists to experiment with shading and texture in innovative ways. The French artist Johan Barthold Jongkind, for example, created mesmerizing sun-drenched scenes using etching, prompting none other than Claude Monet to admit that he had found a master in Jongkind.
Lithography, which relies on the chemical repulsion between grease and water, was another favored medium. Artists like Paul Signac and Henri-Edmond Cross used this technique to create colorful, pointillist-inspired works that captured the fluidity of light and shadow in a way that was impossible with traditional painting.
Influence of Photography
The exhibition also explores the role of photography in the development of Impressionist printmaking. As photography began to rise in popularity in the late 19th century, it both competed with and inspired printmakers. Artistic photographers sought to emulate the effects of paintings and prints, often blurring the lines between media. Pictorialists, as these photographers were called, embraced a painterly approach, treating photographs as artistic compositions rather than mere records of reality.
Max Liebermann, one of Germany’s leading Impressionists, captured this sentiment in a 1927 essay on Claude Monet. "As long as art has existed, there has always been Impressionism," Liebermann wrote, suggesting that the movement transcended technique and era. This viewpoint is central to the Kupferstichkabinett's exhibition, which aims to show that Impressionism, in its many forms, continues to influence artists and audiences alike.
International Reach and Innovation
One of the exhibition’s highlights is its international scope, featuring works by artists from the U.S., U.K., and across Europe. American artist Joseph Pennell, a student of Whistler, is known for his dramatic depictions of New York’s skyscrapers, rendered in daring perspectives that emphasize the sheer scale and grandeur of the city. His etchings, often veiled in steam and smoke, evoke the energy and intensity of the modern metropolis.
In England, the etching revival was driven by figures like Francis Seymour Haden and his brother-in-law, James Abbott McNeill Whistler. Whistler’s prints are known for their delicate treatment of light and air, reducing the subject matter—whether a cityscape or a river view—to its most essential forms. His influence spread across Europe and America, inspiring a new generation of printmakers.
Revival of Etching and Lithography
The exhibition also examines the revival of etching in the 19th century, spearheaded by the Parisian publisher Alfred Cadart. In 1862, Cadart established the Société des Aquafortistes, a group dedicated to promoting etching as a fine art form. Cadart encouraged artists to experiment with the medium, resulting in a renaissance of painterly etching reminiscent of Rembrandt's time.
While the success of the Aquafortistes threatened the popularity of lithography, artists like Eugène Carrière continued to push the boundaries of the medium. Carrière’s lithographs, known for their ethereal quality, feature sensitive portrayals of modern life, emphasizing mood and atmosphere over precise detail.
Legacy of Impressionist Printmaking
The exhibition culminates in a section dedicated to German Impressionism, featuring works by Max Liebermann, Lovis Corinth, and Lesser Ury. These artists, dubbed the "triumvirate of German Impressionism" by Berlin publisher Paul Cassirer, were instrumental in bringing the movement to Germany in the late 19th century. Their prints, often depicting urban scenes of Berlin, exemplify the shift from rural landscapes to the bustling life of the modern city.
As visitors move through the exhibition, they are invited to reconsider their understanding of Impressionism. The works on display reveal that the movement was far more than just an exploration of light and color on canvas; it was also a profound investigation into the nature of modernity itself, captured through the interplay of ink, paper, and imagination.
In the words of Whistler, whose delicate etchings are a focal point of the exhibition: “Art happens—it is not about the salvation of mankind.” Yet, through the lens of printmaking, visitors to the Kupferstichkabinett may just find themselves discovering new ways to see the world around them, in all its fleeting beauty.
