ANDERS ZORN 101 ETCHINGS Foreword by James Gurney Introduction by Ernest M. Lang DOVER PUBLICATIONS, INC. Mineola, New York Copyright Foreword copyright © 2018 by James Gurney Copyright © 2018 by Dover Publications, Inc. All rights reserved. Bibliographical Note This Dover edition, first published in 2018, is an unabridged republication of the illustrations as published by Verlag Ernst Arnold, Dresden, Germany, in 1922. The introduction by Ernest M. Lang has been taken from The Etchings of Anders Zorn, first published by Empire State Book Co., New York, in 1923. A new Foreword, written by James Gurney, has been specially prepared for the present edition. Please note that some of the language in the original text contains cultural references characteristic of the era in which the etchings were created, and have been retained here for the sake of authenticity. Library of Congress Cataloging-in-Publication Data Names: Zorn, Anders, 1860–1920, artist. | Gurney, James, 1958– writer of foreword. | Lang, Ernest, 1899– 1989, writer of introduction. Title: Anders Zorn, 101 etchings / foreword by James Gurney ; introduction by Ernest M. Lang. Other titles: Etchings of Anders Zorn. Description: Mineola, New York : Dover Publications, Inc., 2018. | “This Dover edition, first published in 2018, is an unabridged republication of the illustrations published by Verlag Ernst Arnold, Dresden, Germany, in 1922. The introduction by Ernest M. Lang has been taken from the edition published by Empire State Book Co., New York, in 1923.” Identifiers: LCCN 2018013142| ISBN 9780486828640 | ISBN 0486828646 Subjects: LCSH: Zorn, Anders, 1860–1920—Themes, motives. Classification: LCC NE2061.5.Z67 A4 2018 | DDC 709.2—dc23 LC record available at https://lccn.loc.gov/2018013142 Manufactured in the United States by LSC Communications 82864601 2018 www.doverpublications.com Contents List of Plates Foreword: Encountering Zorn’s Etchings Introduction Plates L P IST OF LATES Plate No. Title Date Frontispiece Self-Portrait 1916 Introduction Untitled n.d. 1 On the Thames 1883 2 Mary 1883 3 Antonin Proust 1889 4 Rosita Mauri 1889 5 Un Première 1889 6 Zorn and His Wife 1890 7 MmeGeorges May 1891 8 JBFaure 1891 9 Valse 1891 10 Prince Eugen of Sweden 1891 11 Morning 1891 12 Lady with a Cigarette 1891 13 The Storm 1891 14 Awakening 1891 15 MmeSimon 1891 16 In an Omnibus 1891 17 Ernest Renan 1892 18 Olga Bratt 1892 19 Count von Rosen 1893 20 Reading (Mrand MrsDeering) 1893 21 The Toast 1893 22 Henry Marquand 1893 23 Isabella Gardner 1894 24 Irish Girl 1894 25 My Model and My Boat 1894 26 The Guitar 1895 27 Mrand MrsFurstenberg 1895 28 Gerda Hagborg 1896 1896 1896 29 MrsPotter Palmer 30 Evening 1896 31 Effet de Nuit 1897 32 MrsNagel 1897 33 The Sculptor Saint-Gaudens and His Model 1897 34 Augustus Saint-Gaudens 1897 35 Old Ballad 1898 36 King Oskar II of Sweden 1898 37 Maud Cassell 1898 38 Grover Cleveland 1899 39 MrsCleveland 1899 40 Zorn and His Model 1899 41 Maya 1900 42 Madonna 1900 43 Princess Ingeborg of Sweden 1900 44 MrsRuneberg 1900 45 The Guitar Player 1900 46 Colonel Lamont 1900 47 Senator “Billy” Mason 1900 48 At the Piano 1900 49 Negress—Sitting 1901 50 Negress—Standing 1901 51 MrsThompson Seton 1901 52 The Storehouse 1903 53 The New Song 1903 54 Anna 1903 55 MrsGranberg 1903 56 Before the Stove 1903 57 A Dark Corner 1903 58 Olandine 1904 59 Traveling Companion 1904 60 Emma Rasmussen 1904 61 Self-Portrait 1904 62 Betty Nansen 1905 63 The Bridesmaid 1906 64 Ida 1906 1906 65 Anna Arranging Her Hair 1906 66 The First Pose 1906 67 Mrand MrsAtherton Curtis 1906 68 August Rodin 1906 69 Anatole France 1906 70 A Ring 1906 71 Summer 1907 72 Cercles d’Eau 1907 73 Edö 1907 74 The Master-smith 1907 75 Bosl Anders, The Clockmaker 1907 76 Prince Paul Troubetzkoy 1908 77 Aurore (head) 1909 78 The New Maid 1909 79 Aurore 1909 80 Precipice 1909 81 August Strindberg 1910 82 Two Bathers 1910 83 Wet 1911 84 The Beadle 1911 85 A Skerri Girl 1912 86 Vallkulla 1912 87 The Ford 1912 88 Dagmar 1912 89 The Letter 1913 90 The Outmost Skerries 1913 91 Shallow 1913 92 Three Sisters 1913 93 Elin 1914 94 Early 1914 95 Crown Princess Margaret of Sweden 1914 96 Dalarö 1915 97 On Hemsö Island 1917 98 Sappho 1917 99 Vicke 1918 James Gurney inspecting original Zorn prints at The Clark Art Institute in Massachusetts Foreword: Encountering Zorn’s Etchings by James Gurney I discovered the alchemical art of etching when I was in high school. My father, an engineer at a research lab in Palo Alto, came home from work one day with a big jar of nitric acid and said I could experiment with it. I dropped a penny in the jar and watched the coin disappear in a stream of bubbles. The experiments soon led to etching. Etching is a form of printmaking in which a copper plate is coated with a waxy resist material called a ground. You can scratch through the ground to expose bare metal lines on the plate. Immersing the plate in acid will cut grooves of varying depth in the exposed metal, depending on how long the plate remains in the acid. The printmaker then rubs ink into all the grooves and gently removes the ink from the smooth parts of the plate with a rag. When a piece of dampened paper is laid over the inked plate and cranked through a press under pressure, the ink transfers from the grooves to the paper. The line work on the resulting print superficially resembles a pen-and- ink drawing, but with an added atmospheric quality that is unique to the medium. By heating the inked plate and dragging a piece of cloth over the surface, the artist can coax some ink out of the grooves, yielding richer shading. I made a few etchings, but I had no idea what the medium was capable of until the late 1970s, when I happened upon an exhibition at the UC Berkeley Art Museum. These were etchings by an artist I had never heard of, Anders Zorn. Since then I have sought out several opportunities to see Zorn’s original etchings in the prints and drawings rooms of museums. I am honored to be asked to reintroduce this landmark collection of Zorn’s finest etchings. Today, Zorn is better known as a painter in oil and watercolor. Using those media, he created portraits and landscapes directly from life, as did his contemporaries John Singer Sargent and Joaquín Sorolla. Unlike those artists, Zorn earned a reputation in the realm of etching as well. During his lifetime, he was, by several accounts, better known for his prints than for his paintings. A native of Sweden, Zorn learned the technique from Axel Herman Haig while visiting England. He didn’t pay much attention to the English tradition, not even to James Abbott McNeill Whistler, who was famous for his etchings. Zorn’s strongest influence was Rembrandt van Rijn, whose work he studied during visits to Stockholm and Amsterdam. He bought a Rembrandt oil portrait and did an etching based on it, which he then used as a New Year’s greeting card. As Zorn grew wealthier, he collected etchings by Rembrandt. There were over two hundred in his estate when he died.