Le Forgeron. The Blacksmith. by Eugčne Delacroix, 1798-1863

Eugčne Delacroix, 1798-1863
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Le Forgeron. The Blacksmith.

Original aquatint in black ink. 1833. With the engraved monogram of the artist upper right. Very fine impression of the edition issued by Cadart for the 'Société des Aquafortistes', 1867. As issued in volume 5 of the Portfolio. With the Aquafortistes watermark. Printed by Delatre.
Ref: Delteil - Delacroix Peintre Graveurs 19 state v of vi.

Beautiful contrasty impression. On pale cream laid hollande paper, with the Aquafortistes watermark. Excellent original unrestored condition. A few very minor flecks at the extreme outer sheet edges. Full very large margins, as issued. Sheet: 22 3/8 x 14 5/8ins. Plate:8 1/8 x 6 3/8ins (226x162mm)

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'Le Forgeron' - The Blacksmith - is one of the most famous French artist's prints of the early 19th century. It is a seminal work which in many ways marks the beginning of the concept of the peintre-graveur, the artist engraver. The idea that printmaking could be used as a 'painterly' medium, that is to say that the artist could use the tone values, textures and lines which can be created in print to draw a pictorial image in just the same way as with chalk on paper or with brush paint and canvas, is one of the great revolutions of the art of the print.

Delacroix etched his composition of the blacksmith working the lump of molten metal and lit by its red-hot glow and the light from the furnace in 1833. It is one of the great romantic images in the printmaking of the era, full of drama, strength and emotion. One of the most significant elements of the work is Delacroix's decision to use aquatint rather than line etching. He was almost certainly influenced by having seen the 'Caprichos' by Goya, which had been the first masterpieces in the medium in the 1790's, but his treatment is much bolder and more dramatic in the use of the contrasts of tone and light to create a visual and emotional effect.

Delacroix completed the plate in 1833. Only a very few impressions were pulled at that time and there was no formal edition. He had worked on the plate at the studio of Villot, and at the sale of Villot's effects in c.1864 the plate was acquired, along with five others, by the leading mid 19th century French print publishers Cadart and Luquet. Cadart issued the first formal editions for the Society of Etchers - Société des Aquafortistes. This impression is from the Cadart edition.